The inauguration of MIA photo fair 2018 is close and our preview of the works that will be exhibited during the fair goes on. We have selected a series of projects that fit perfectly into our curatorial style and which represent the quality proposed by this new edition of the most important Italian photography fair.
Big name and young talents alternate during this event, created with the aim of highlighting the transverse role that photography has come to play between the languages of expression of the contemporary art system.
Our selection and our future reports will have the task of representing this important fair through our filter, proposing projects and Artists that fall within our selection, following the criteria that always accompany our research. In this way we will realize an authorial representation of reality rather than a simple collection of information, all to show aspects that we know are of interest to PHROOM lovers.
(don’t miss the MIA PHOTO FAIR // PREVIEW PT.1)
Nobuyoshi Araki was born in Tokyo in 1940 and given a camera by his father at the ripe age of twelve. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship, a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 photography books.
Araki’s artwork traverses a multitude of subjects, including Tokyo street scenes, flowers, and female faces, but it is his erotic bondage photography for which he has become particularly notorious, with some labelling him a pornographer and even a misogynist. Some of his images, like those in the TASCHEN publication Tokyo Lucky Hole, document private orgies, the sex industry, and bondage subcultures (including a parlor where men are fondled through holes in coffins), and contributed to his reputation as an agent provocateur, who walks a fine line between art and porn.
But contextualized in relation to the history of shunga, traditional erotic woodblock prints, and kinbaku-bi, a style of Japanese rope bondage, Araki’s work takes on a deeper cultural resonance, reflecting the eroticism beneath the surface of Japanese society. TASCHEN Books, Collector’s edition sumo sized publication, art editions book, and Bibliotheca Universalis titles, consider his images of genitalia and women in bondage alongside the art of kinbaku and examine his work as an expression of female desire and an exploration of love and death in photography. As scandalous as they may be, Nobuyoshi Araki’s intimate shots of women, often in stunning black and white monochrome, make for a provocative (and addictive) coffee table book.
With the project Morandi’s Objects, the celebrated American photographer Joel Meyerowitz pays tribute to the Bolognese painter Giorgio Morandi and realizes his dream of photographing the objects Morandi painted in his splendid still lifes.
Thanks to the support of the Istituzione Bologna Musei | Museo Morandi, Meyerowitz was granted access to the rooms in Casa Morandi, where the painter’s objects still remain. Taking over 700 photographs, the American photographer completed a profoundly taxonometric survey of 270 dust-covered objects in the small room where Morandi worked: vases, shells, bottles of all sizes, painted over, filled with raw pigments, colored bottles or plain, silk flowers, jugs, boxes, tin cans, funnels, and more. Meyerowitz treated his photographs as portraits, turning each object slowly until one facet spoke more clearly than any other and revealed the secret identity that Morandi valued each object for.
Meyerowitz worked at Morandi’s table, where the light still falls, as it always has, on the circles and lines the painter drew to mark the positions of his objects. The background remains as Morandi left it, a pale, rosy golden paper that is brittle and ready to crumble at the slightest touch. His presence is in the room.
As the essayist Maggie Barrett affirms, “entering the studio of such an important artist means exploring his soul in depth; a place inviting the visitor to translate these objects into a meaningful portrait of the artist.”
TV N.06 of 2000 is one of the most iconic images signed by the creative duo of Gao Brothers.
In it there is one of the two Gao brothers straddling a tv which doesn’t broadcast anything, while even the thin newspaper between his hands seems to report only propaganda. The same maoist propaganda opposed by the dissident artists hated for years by the Chinese Government.
The big size (150×110 cm) highlights the tragedy of the content.
Lady Tarin is an italian photographer and artist graduated from the Bologna Academy of Fine Arts and has been working for more than ten years on photographic research into the theme of the nude and of eroticism, using the analogical technique.
Luca Campigotto takes his inspiration from the explorers of the XIX century, and their photographic works. Following this path, he travels all around the world developing his site-specific work
Icons. A photography collection can be based on manifold suggestions, stem out of personal interests; some images though are timeless, essential icons. Contrasto Galleria proposes a selection of works by great artists that have left an indelible imprint; a unique, inimitable trademark. Among the huge quantity of images any collector has to untwist, Icons suggests a path towards the construction of a possible collection of high quality, bluechip classics.
Gosette Lubondo was born in 1993 in Kinshasa where she lives and works. She draws her inspiration from her daily life, from the various spatial and individual heritages that surround her. Lubondo works at the edge of the old and new, by questioning the memory of aging spaces. Her images reveal the traces left in these places, living witnesses of the history and the continual evolution of human life. Through careful staging where she becomes the subject of her representations, she not only refers us to the past but gives a second life to these spaces which she considers vestiges of the past.
Gohar Dashti received her M.A. in Photography from the Fine Art University of Tehran in 2005. After studying photography in Iran, she has spent the last 12 years making the large scale of her practice concerning in social issues with particular references to history and culture through a convergence of interest in anthropology and sociology. She tries with her own means to express the world around her. Her starting point is always her surrounding, her memory, but with her very personal perception of things. She tries to trace her relationship to society and the world in it’s most sensitive way. Her practice continuously develops from life events and connection between the personal and the universal, the political and the fantasised.
MIA Photo Fair 2018
The Mall – Milano Porta Nuova
P.zza Lina Bo Bardi
9 – 12 marzo 2018
website: MIA Photo Fair