A DRAMA IN SEVEN ACTS
DRAMA in SEVEN ACTS
“Girl Culture” by Lauren Greenfield
“Corpus - Beyond The Body” by Alvin Booth
“Mamelodi Hostel” by Themba Hadebe
“Struggling to Share The Promised Land” by David Lurie
“Vibrations” by Euro Rotelli
“Listening to Cement” by Robert Stivers
“Child Soldiers of Sierra’ Leone by Guy Tillim
The exhibition at OMC Gallery shows work of seven internationally renown photographers from three continents, who represent masterfully very individual positions of Contemporary Photography.
Ours is a society hooked on packaging and hyped on sexuality, on the desire for fame and attention, for beautiful bodies and fabulous clothes and the illusion of importance that comes with having the right stuff.
Lauren Greenfield’s Girl Culture has attracted more than 600.000 visitors in Museums nationwide.
Alvin Booth offers a rich, new perspective on a timeless subject. Boldly sexualized and emotionally intense, his nudes possess a refined sensuality that is rarely found in visual art today.
Themba Hadebe takes you on a tour to Malebi Hostel: Migrant workers pour into Johannesburg and surrounding areas in search of work. Many of them are single men and find themselves living in hostels around the city.
Jews in Israel today are deeply divided. In turn, these divisions have hampered Israel's progress towards reaching final peace settlements in exchange for occupied land with Palestinians as well as with Syria and Lebanon. “Struggling to share the promised land “ reflects David Lurie’ s perspective of the conflict.
Euro Rotelli’s ‘Nudes’ of Vibrations remind the viewer of ancient Greek statues. His eye for composition and the careful attention, he pays to the sweeping harmony of the whole, create an atmosphere both delicate and intriguing.
Robert Stivers' photographs transform flesh into cement and back again. "Listening to Cement" reminds us that all things, animate and inanimate, have life and can lead us into realms of spirituality and intrigue.
Child Soldiers of Sierra Leone, photographs, taken buy Guy Tillim in July 2001, are both penetrating and intimate, and display Tillim' s distinctive aesthetic. His images are often of harsh realities, but he is seldom invasive or confrontational in his approach.