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“…I’m beginning a new book to have a companion\, someone wit h whom I can talk\, eat\, sleep\, at whose side I can dream and have nightm ares\, the only friend whose company I can bear at the moment.”

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      —Herve Guibert

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     To The Friends Who Saved My Lif e\,

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…an exhibition prompted by the introduction of Francesca Woodman’s work to Heinz Peter-Knes and Danh Vō. They in turn suggested a parallel to Hervé Guibert\, unknown to us at the time. About a year later\, we learned that Nightboat Books\, the companion enterprise to Callicoon Fine Arts\, was newly engaged with Guibert translations\, a publ ication plan that in turn prompted the gallery to introduce Guibert’s photo graphs to an American audience. Shared images and writings closed a circle that we hadn’t known of before\, including our own works\, those of Rona Ye fman\, an Israeli photographer living in New York\, Heinz\, Danh\, and a si ngle Francesca Woodman\, as our starting point.  

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Guibert’s best known book\, To the Friend Who Did Not Save My Life\, is a memo ir of crisis and roller-coaster years of rushing between doctors and lovers . With extraordinary recall and dispassion\, that is\, with a photographic voice\, even towards his own diagnosis and decline\, Guibert maps the early years of the AIDS crisis. In those times when human friends became “friend[s] whose c ompany I can bear at the moment\,” perhaps it was photography that eased th em through the door.  

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Among the many formal similarities be tween Woodman and Guibert\, it should be noted that both spent time living and photographing in Rome\, where Heinz and Danh were recently in residence \, and that the images Woodman and Guibert made there are steeped in its li ght and shadows. Rona Yefman did not know of Guibert\, but she was known to us through her extended photo essay on her brother\, and through a pair of striking one-minute films. Moyra’s bottles\, Jason’s Polaroids and Rona’s sibling study\, all keep the images close to home. Danh and Guibert absorb the Villa Medici residence through its physical effects upon its residents\ , past and present: the erotics of place carry by association\, the knowled ge of who was there before. So too does Heinz’s discovery of his own face p lastered on the red-lit bathroom wall of a bar\, and in his portfolio of bl ack and white prints. Seemingly following an order that appeared in the une dited rolls of 35mm film\, flared end frames included\, Heinz’s box of prin ts return us back to the place of the photographer sorting the moments of s eeing.

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             —Jason and Moyra

DTEND:20130621 DTSTAMP:20140723T140547 DTSTART:20130519 GEO:40.7193717;-73.9922196 LOCATION:Callicoon Fine Arts\,124 Forsyth Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:To The Friends Who Saved My Life\, Moyra Davey\, Hervé Guibert\, He inz Peter-Knes\, Jason Simon\, Danh Vo̅\, Francesca Woodman\, Rona Yefman UID:277486 END:VEVENT BEGIN:VEVENT DTEND:20130519T200000 DTSTAMP:20140723T140547 DTSTART:20130519T180000 GEO:40.7193717;-73.9922196 LOCATION:Callicoon Fine Arts\,124 Forsyth Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:To The Friends Who Saved My Life\, Moyra Davey\, Hervé Guibert\, He inz Peter-Knes\, Jason Simon\, Danh Vo̅\, Francesca Woodman\, Rona Yefman UID:277487 END:VEVENT END:VCALENDAR