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ROGER BALLEN @ THE SMITHSONIAN WASHINGTON DC

 

"Lines, Marks, and Drawings: Through the Lens of Roger Ballen" at the Smithsonian National Museum of African Art, Washington, D.C.

on view June 19, 2013–February 9, 2014

Roger Ballen (b. 1950), one of the more recognized photographic artists working today, is the focus of an exhibition at the Smithsonian’s National Museum of African Art. On view from June 19 through Feb. 9, 2014, “Lines, Marks, and Drawings: Through the Lens of Roger Ballen” considers the artist’s 40-plus years as a professional photographer through a new approach: an examination of line and drawing in his photographs.

The exhibition features 55 works and one video and traces Ballen’s use of drawing in his photographs over the past four decades. Ballen’s early vintage silver-gelatin photographs show a minimal approach to line. Selected works from Ballen’s most recent series, “Asylum of the Birds” (2008–14), show how the artist more directly integrates drawing into theatrical settings dominated by birds. Developed by guest curator and artist Craig Allen Subler, the exhibition offers a fresh perspective on Ballen’s body of work.

Posted by Galvin Harrison on 6/23/13




OUTSTANDING METAL

   OUTSTANDING METAL    

    Frederiksværk - Denmark

    June 22 - October 30  201

"The sculpture "Windy Hill" (2002) was my first attempt at creating a large scale sculpture using welded steel. At the time I was          residing at a very secluded location in the hills east of Varberg , south of Gothenberg in the Halland area of Sweden.

The concept of the this specific piece of sculpture was to implement distinctive landscape elements that I was using in my paintings. Prominent landscape features that are normally viewed as distinct horizontal planes have been re-constructed in a vertical format and enclosed within a pre-calculated four sided rectangular form. The material is solely cut welded steel that has been painted.

I gratefully acknowledge the generous and capable assistance of my good neighbour at the time and dear friend Hasse Hjalmarsson."

Galvin Harrison, Copenhagen 2013

  

Posted by Galvin Harrison on 6/19/13




"BENSONHURST @ THE SOCIAL" Copenhagen

      

       

       http://sturiale.squarespace.com/blog/2013/5/25/bensonhurst-at-the-social.html

       (click on image to view images from opening)

       

     http://vimeo.com/66910555

Posted by Galvin Harrison on 5/28/13




"BENSONHURST" by Kevin Broadbery @ THE SOCIAL. Copenhagen

     

The mark of a really good photographer is that you can look at an image without feeling any sense of the photographers presence. Kevin Broadbery has the enviable talent in being able to photograph people and the event without being an obtrusive influence. I have seen him do it. From my perspective to witness the initial intrusion is mildly embarrassing. He just enquires politely if he may? and they avail themselves to him. They strut and flaunt as if posing for the camera is an everyday event and they become the perfect partnership for a photographic autopsy that is all so fascinatingly vulgar but with no evidence of deceit.

In creating a specific series of photographs you might just get lucky and capture the one image above all others that is iconic. The image that just stands for itself with a solitary stance and tells numerous stories of which no one can discern the truthful one. There is such an image in the Bensonhurst series. Along with all the other images It has no title. The photograph I am referring to is of a young man with a scar on the back of his head, he is positioned with his back to the viewer and is being embraced by a young lady with blond hair and large hands. To my mind this image is at that place we least wish to be, it is that place called sadness. The one place we all have to go to in order to become that better person. I cannot decipher the truth of that moment that is captured by the camera. They could be lovers, good friends or even brother and sister. It could be a breaking up, a departure of sorts or simply the sharing of a common sadness. Inevitably our own personal presumptions and prejudices will play a role in attempting to unravel the truth without us ever knowing how close or far we are from the actual accuracy of the occasion. But we do know sadness and that it comes in all shapes and sizes and also, that as long as we live the dosage never completely evaporates. This image, if anything is a poignant reminder of that fact

Galvin Harrison. Copenhagen 2013.

       

Posted by Galvin Harrison on 4/18/13




OPENING OF ALTERNATIVE VENUE FOR PHOTOGRAPHY

   

               
                 OPENING IN COPENHAGEN. APRIL 2013
At Sturiale Contemporary Arts we have over the years developed a long standing fruitful relationship with our ` friends from the north´. We are then more than delighted to announce on their behalf the opening of a new alternative venue that apart being a "home from home" bustling bar it will also act as an alternative platform for contemporary photography. The name of this new, `place to hang out´ is, THE SOCIAL. It will shortly be opening and is located in Copenhagen on the edge of the former red-light and meat packing district of Vesterbro. THE SOCIAL is solely owned and managed by the renown bar impresario Jonathan Carter and he will be ably assisted by his trusty sideman of long standing Brendan Treacy. THE SOCIAL will have a distinct New York feel about it which of course includes all those reassuring trimmings of a well stocked bar and an up to date sports programme, as and when it happens. However, THE SOCIAL will differ from all other bars by the virtue that despite being a cool hip bar it will invest its energy and enthusiasm in offering itself as an establishment that actively supports contemporary photography and photographers. 
A number of photographers from Sturiale Contemporary Arts are and will be involved with the projects that are planned for the future. The first exhibition that will open late April will be a solo exhibition by the the Irish photographer; Kevin Broadbery who will exhibit work from the series `BENSONHURST´ photographed in New York in 1992-93.
We at Sturiale Contemporary Arts would like to take this opportunity of wishing THE SOCIAL the best of luck in this new and original undertaking.  SALUTE!!

Posted by Galvin Harrison on 3/29/13




KEVIN BROADBERY @ THE SOCIAL - COPENHAGEN

       

         KEVIN BROADBERY.

         PHOTOGRAPHS FROM THE BENSONHURST SERIES

         @ THE SOCIAL - COPENHAGEN.  APRIL 25th. 2013

    

       

              

In 1992-93 the photographer Kevin Broadbery was in New York attending ICP, the International Center of Photography. It was during the course of his studies that he embarked upon the Bensonhurst series. This is a series in black and white that for the main part depicts the lifestyle of young Italian/Americans. The sons and daughters of a hard working generation of Italian immigrants that abandoned the shores of a post second world war ravaged Italy and flooded the eastern coastline of America from a twofold desire to survive and to also obtain a chunk of that all `American Dream´. What clearly comes across in this series are honest images that portray the subjects as a consummate generation. This is the `stuff´ generation, the "wanna have it, gotta have it" generation. From the clothes to the make-up, from the hairstyles to the jewelry, from the endless gadgets to the ultimate status symbol, the car. All are embalmed in an essence of smells that vary from hair lacquer to the exhaust fumes of cruising cars. The images paraded are so believable and authentic that yes, you can almost distinguish the peroxide from the alcohol laden breath. The images are all fueled with bustling activity that for me are all tinged with a reality of an inevitable sadness, a huge investment of energy in a lost cause. The great American experiment, doomed to failure. Before your eyes you can sense the corpus becoming enlarged by a steady diet of fabricated food while at the same time being suffocated by chemical sprays and additives that enhance the personal well being shored up on a short term contract agreement. The images are a perfect example of pathos blanketed in a lifestyle that does it´s best to convince itself and everybody else that it´s having fun, participating in a party that never ends. The series almost, if not does, encourage an accompanying soundtrack. The fifth track, `Racing in the Street´ from Bruce Springsteen´s seminal album. `Darkness on the Edge of Town´ from 1978 will do and a text exert that reads;

                                                                                           "Tonight, tonight the strips just right

                                                                                             I wanna blow´em off in my first heat

                                                                                             Summer´s here and the time is right

                                                                                             For racin´ in the street.

 

The mark of a really good photographer is that you can look at an image without feeling any sense of the photographers presence. Kevin Broadbery has the enviable talent in being able to photograph people and the event without being an obtrusive influence. I have seen him do it. From my perspective to witness the initial intrusion is mildly embarrassing. He just enquires politely if he may? and they avail themselves to him. They strut and flaunt as if posing for the camera is an everyday event and they become the perfect partnership for a photographic autopsy that is all so fascinatingly vulgar but with no evidence of deceit.

In creating a specific series of photographs you might just get lucky and capture the one image above all others that is iconic. The image that just stands for itself with a solitary stance and tells numerous stories of which no one can discern the truthful one. There is such an image in the Bensonhurst series. Along with all the other images It has no title. The photograph I am referring to is of a young man with a scar on the back of his head, he is positioned with his back to the viewer and is being embraced by a young lady with blond hair and large hands. To my mind this image is at that place we least wish to be, it is that place called sadness. The one place we all have to go to in order to become that better person. I cannot decipher the truth of that moment that is captured by the camera. They could be lovers, good friends or even brother and sister. It could be a breaking up, a departure of sorts or simply the sharing of a common sadness. Inevitably our own personal presumptions and prejudices will play a role in attempting to unravel the truth without us ever knowing how close or far we are from the actual accuracy of the occasion. But we do know sadness and that it comes in all shapes and sizes and also, that as long as we live the dosage never completely evaporates. This image, if anything is a poignant reminder of that fact.

"Bensonhurst" was one of the first series that Kevin Broadbery completed. There are other series waiting in the wings ready to be launched on a visually educated public but this was the first and we all know that the first of anything is a very powerful opiate that resides within the frontal lobe for a long time and taints, for better or for worse all the experiences that follows in its wake. It is a rare occasion indeed that we are all privileged to share this series of Kevin Broadbery´s photography. It is not the series in its entirety, just a generous portion. It will hang together for the first time in an exciting new venue, namely `The Social´  which is situated at the edge of the old red light and meat packing district of Copenhagen. On the whole when looking at the the Bensonhurst series I am not so sure that  `I love Bensonhurst´ (you can almost see the slogan on a t-shirt with the inevitable cliched red heart) but I do love the photographs and I hope that you do to.

 

Galvin Harrison, Copenhagen 2013

Posted by Galvin Harrison on 3/29/13




Sturiale Contemporary Arts

ROGER BALLEN RETROSPECTIVE @ WESTLICHT IN WIEN

http://sturiale.squarespace.com/

Roger Ballen, Take-off, from the series Asylum, 2012

Posted by Galvin Harrison on 2/22/13




Experience the work of JACOB AU SOBOL

A MULTI MEDIA EXPERIENCE OF THE WORK OF JACOB AUE SOBOL.

Jacob Aue Sobol is an invited participant in RENEGADE

 

Posted by Galvin Harrison on 2/15/13








STURIALE CONTEMPORARY ART

POINT AND SHOOT UPDATES

POINT AND SHOOT PROUDLY PRESENTS :

"MY LIFE, YOUR LIFE"
 An exhibition of photography @ Osram Culture House, Nørrebro Copenhagen. 
Exhibition opens January 17.  2013.
credit image: Ali Hassan Mustapha. Courtesy Point and Shoot.
Posted by Galvin Harrison on 1/17/13




New entry on Sturiale Contemporary Art blog

INTRODUCING A SENSATIONAL MUSIC VIDEO DIRECTED BY RENOWN PHOTOGRAPHER ROGER BALLEN

The music video “I Fink U Freeky” by Die Antwoord in association with ROGER BALLEN has won the award for the ‘Best Music Video’ at the 20th anniversary event of the Plus Camerimage International Film Festival of the Art of Cinematography in Bydgoszcz, Poland. This is the second major award for the video, which has received over 20 million hits on You Tube. Earlier this year the video was awarded the award for Music Video Grand Prix at the Curtas Vila do Conde International Film Festival in Portugal.

       Click this link to see the video on YouTube http://www.youtube.com/watch?v=8Uee_mcxvrw

Posted by Galvin Harrison on 1/10/13




" BLOSSOM SCULPTURES"

Blog - Galvin Harrison's "BLOSSOM" sculptures in Copenhagen

sturiale.it/.../galvin-harrisons-blossom-sculptures-in-copenhagen.html – Galvin Harrison's "BLOSSOM" sculptures in Copenhagen. ...
Posted by Galvin Harrison on 1/4/13




from : STURIALE CONTEMPORARY ART

HAPPY CHRISTMAS AND BEST WISHES FOR THE 2013

Photo courtesy Kevin Broadbery

BUON NATALE - MERRY CHRISTMAS - MELE KALIKIMAKA - ¡FELIZ NAVIDAD - FROHE WEICHNACHTEN ...

Posted by Galvin Harrison on 1/2/13




TASHKEEL DUBAI.

   

Posted by Galvin Harrison on 12/13/12




A. QUBAISI/STURIALE PROJECTS IN UAE

A unique joint venture has evolved between the leading UAE jewellery maker Azza Al-Qubaisi and Paolo Sturiale from Sturiale Contemporary Arts, Italy.

There have been lengthy discussions as to how the talents of Azza Al-Qubaisi and her thriving business could merge with the        ambitions of Sturiale Contemporary Arts to establish the concept of a joint project that could enhance both parties in their desire to establish a cultural hub that would provide a fresh perspective into the creative process and a further insight into the  possibilities that arise when two such prominent cultural figures find the manner and means to satisfy their mutual respect and admiration for each others activities and establish a third party joint venture. The joint venture will be based in UAE and will be known as: 
The venture will start on October 3rd @ Tashkeel in Dubai with an opening exhibition by the British born artist Galvin Harrison. The exhibition is titled,  "Stack" original works on paper. Galvin Harrison has been represented by Sturiale Contemporary Arts since it was first established and is a mid career artist with an established reputation. The exhibition that is being curated at A.Qubaisi/Sturiale Projects is a forerunner to an ongoing project that has been initiated by Azza Al-Qubaisi in her capacity as a jewelry designer and Galvin Harrison as a fine artist. A working collaboration has been established to create an innovative form of jewelry that utilizes both their respective unique talents. The results of which is a working partnership that will launch the jewelry concept  "Sculptures to Wear" of which the official launch date is scheduled between October  and December 2012.
 
Posted by Galvin Harrison on 12/13/12




METROPOLIS OR GRAVEYARD

METROPOLIS OR GRAVEYARD

by BIRGITTE KATBORG LAURSEN on APRIL 12, 2010 · 

in ARTS

‘Graveyard’ is the title of this gigantic sculpture by artist Galvin Harrison, which seems to continue endlessly, and makes you wonder what this insane repetition is all about?

The title ‘Metropolis’ brings to mind Fritz Lang’s expressionist film from 1927, set in a futuristic urban dystopia, but also large contemporary cities like New York. Before entering too much into a discussion of the deeper meaning of ‘METROPOLIS OR GRAVEYARD’ I want to distinguish between beauty in the eye of a sculptor and the eye of a city planner.

‘Graveyard’ Stack Project/Phase 1 (detail). Copyright: Courtesy Sturiale Contemporary Art.

The sculptor decided, to always have a base (plot) of 10 by 10 which he can create and build on top of. On each plot, the process evolves through an extremely passionate and intensive research of stacking differently on each base. Each sculpture is stacked differently, some horizontally, some vertically, some a mix of horizontally, vertically and diagonally stacking.

The idea of stacking seems like a way of organizing archives of memories and histories. One must admit that the artist has an enormous amount of experiences to stack. Like a flow of stories that never ends. It is a storyteller stacking his stories, trying to organize and structure, through chaos.

‘Graveyard’ Stack Project/Phase 1 (detail). Copyright: Courtesy Sturiale Contemporary Art.

The collection of stacks grows and grows, some are very densely packed, others are more airy, but together the collection becomes very diverse and colorful. They are organized strictly and disciplined in a rigid grid structure, which, at the same time playfully interacts and challenges the tight, strict order. This meticulous plot seems to be the way of both slicing through smoke, and the immense and unrelenting bombardment of info. Today the collection consists of 200 unique and individual sculptures, and the future idea is even to add 200 more.

This unending repetition makes me think of Anthony Gormley’s ‘Asian Field’ from 2003, represented at the 2006 Sydney Biennale. An installation of 180,000 small clay figurines, all handmade and all with different faces. Repetition through Diversity. The figurines represent human beings, each with different faces, and different minds. An immense collection of diversified life.

Anthony Gormley's ‘Asian Field’ 2003.

Anthony Gormley's ‘Asian Field’ from 2003.

This empire of stackings is representing an uncontrolled life growing out of each sculpture, as is apparent in the artist Lars Vilks’ self-constructed empire ‘Ladonia’ on the west coast of Sweden. In 1980 Lars Vilks began the construction of two sculptures, Nimis (Latin for “too much”) and Arx (Latin for “fortress”), which are two words you easily can apply to Galvin Harrisons work.

Lars Vilks’ self-constructed empire ‘Ladonia’ on the west coast of Sweden.

With Galvin Harrison, each individual sculpture exists in its own right, although placed in a rigid system, exactly like we find it in graveyards, which are usually laid out in rows, with very nearly the same size plots. So Galvin Harrison is confronting us with the questions and contrast of life and death.

Seen through the eyes of a city planner; you begin to sense the grid and the complexity of a larger city. The strictly repeated rigidity makes you think of the grid of Barcelona or New York. We all know how easy it is to orientate oneself in New York because of its clear and structured layout. However, New York is a grid city with differentiation and variations of urban spaces and organic growth interfering with this calculated grid.

Correspondingly, in this grid by Galvin Harrison you get surprised by this totally repeated, controlled landscape, continuing in the same size and scale, to infinity. As an urban designer you somehow want to disturb and disorganize the masterplan to create some urban spaces between the constructions. New York is a good example, it has its clear grid, but is also has its ‘interruptions’, by Central Park, Broadway etc.

New York from a bird's eye view.

Another recent example, is the upcoming sustainable city by Norman Foster, Masdar City in Abu Dhabi. It is a highly modern city taking its inspiration in the structure of the old Arabic Medina. A compact high density city, a model of energy conservation and climate changes, zero waste and zero carbon emissions, where cycling and walking are the most popular way of transport, as is the sale of locally grown products, thereby enhancing quality of life. Again, a clear, regular grid, but with exceptions.

Masdar City in Abu Dhabi, by Norman Foster.

This leads us to the idea that maybe Galvin Harrison’s sculpture is the perfect model of a new metropolis, optimized for (avoiding) natural disasters? Horizontally, it is so rigid, that when it’s hit by a tsunami or an earthquake, it is primed and ready for naturally created urban spaces, or green oases to appear.

But I do believe the message from Galvin Harrison is different, he is concerned by the latest years of maniac construction in the Middle East and Asian mega cities. In a subtle way he is making comments on these surrealistic landscapes, that are built with such a speed that no one has an idea about what it is leading us to, or what is going to happen.

These cities, that in the end will be eaten by themselves, can also lead us to compare them with contemporary densely packed graveyards, like some of the Jewish cemeteries in Jerusalem, or some of the Parisian cemeteries that nearly appear half-inhabited. Each burial plot is a memory of stories and life.

You can find both death AND life in Jewish and Parisian cemeteries.

This article is an ongoing discussion with the artist, so text to follow………………

See more about Galvin Harrison  on:  www.sturiale.it

Posted by Galvin Harrison on 12/4/10





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