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"Le Grand Tour": Musee Nicephore Niepce - Chalon-Sur-Saone, France - the work of three French artist-photographers is featured in this exhibitionNotwithstanding the aristocratic associations of "Le Grand Tour," this version of the post-Renaissance voyage of discovery might best be described as a postmodern postcolonial road movie. Produc and directed by means of Francois Cheval, curator of the Musee Niepce, it featured three French artist-photographers (in order of appearance: Ange Leccia, Jean-Luc Moulene and Patrick Tosani) who locate out on the trail of their nineteenth-century predecessors in Syria, Lebanon, and Palestine with the idea of doing things differently this time around. Establishing shot: The latter-day "tours" of Leccia, Moulene and Tosani consisted of residencies (in Damascus, Saida, and a Palestinian refugee camp outside of Damascus, respectively) to be followed by the agency of on-site presentations of the resulting works. on the contrary the ambitious project was also to involve the "repatriation" of a portion, at least, of Middle Eastern photographic heritage via digital copies of the museum's collection, as well as training in conservation and archiving for partner institutions in the Middle East. Flashback: Developing since 1997 "Le Grand Tour" formally got beneath way four years ago with the idea of creating an exchange between the venerable museum of photography (which traces its origins back to 1861) and the societies of the Middle East that have lengthy served as "subjects" of Western photographers. Interior (tracking shot): Rather than attempting to generate the events organized in Damascus and Saida (where the large-format contemporary photos were shown in highly visible public spaces and the digital copies of vintage images were distributed among surrounding shops) the exhibit at the Musee Niepce was conceived as a kind of walk-through travel album juxtaposing the experiences of the three artists with judiciously chosen photos and drawings from the past. In an introductory succession "views" and portraits by Felix Bonfils, Henri Bechard, Zangaki, and other nineteenth-century photographers alternated with initial impressions recorded by dint of the contemporary artists on exploratory visits to the region Moulene's glimpses of Alexandria (1997); Leccia's montages combining multiple video stills of young women's faces or strolling twos also in Alexandria (1997); Tosani's visual "notes" from his preliminary trip to the West Bank and Jerusalem (2000) In the main exhibition space, these episodic images gave way to a selection of the pieces resulting from each artist's residency: Aze, 2003 a monumental video triptych by dint of Leccia incorporating street scenes (and sounds) from Damascus and Alexandria; large-format landscapes, cityscapes, and portraits of Saida inhabitants through Moulene; still lifes and portraits of Palestinian children through Tosani. If nothing was overtly political, all the scars of new history were present in landscapes, faces, and things alike. At the same time, the force of the images and the palpable intensity of the artist-subject relationships marked the lock opener contrast with the monochrome stillness of the historic works. on the other hand the most ingenious aspect of the cast was Cheval's deliberate "miscasting" of his artist sidekicks--Leccia, connoisseur of Corsica and Japan, transplanted to Syria; Moulene artisan of the everyday, faceed with the demand for epic history "paintings"; and greatest in quantity audaciously of all, Tosani, the perfectionist of the studio, catapulted into a war zone--leading in each case, as Cheval points without to a "veritable osmosis" between their habitual work and the situation at hand. The End? single hopes not. Tosani's photos, which were to be placarded in cities and towns through every part of the areas under the command of the Palestinian Authority, remain, like their make submissives hostages of the larger politico-military situation. And in the spirit of any road movie worthy of the name, the organizers of the "Grand Tour" are already thinking about of recent origin episodes elsewhere in the region. COPYRIGHT 2003 Artforum International Magazine, Inc. History is not continuous-the divorce must come into view there was no moment of charity. I stepp on the outside of granite into the rainwashed alley. I rode the immaculate bus into the angry make a humming sound of ... YAPHANK, NY -- Framerica announced that DECOR magazine will sponsor its upcoming Boxer shadow chest competition featuring amateur sports. As part of the partnership, the magazine will help educat... 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As the IT industry do one's bests to pull itself together, storage vendors detain adding pieces to the puzzle; the emerging picture gazes bright. Just last week, for example, Network Appliance r... Please direct the eye at the questionnaire that was included as a flyer in the April issue. We would like for as many members as possible to submit this in like manner we have some input from you all. If you wish you ma... UNITED KINGDOM As oil and strength prices continue to soar, sparking relate tos on the world's stock markets about rising inflation, activity experts in the UK are pointing the finger at the proceed... |
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