Tag Photos

Davide’s Renaissance

Photo by Adarsha Benjamin

Davide’s Renaissance
Giuseppe Veneziano
2011
Painted bronze
270x140x185 cm


Corporations are getting better and better at seducing us into thinking the way they think—of profits as the telos and responsibility as something to be enshrined in symbol and evaded in reality. Cleverness as opposed to wisdom. Wanting and having instead of thinking and making. We cannot stop it. I suspect what’ll happen is that there will be some sort of disaster—depression, hyperinflation—and then it’ll be showtime: We’ll either wake up and retake our freedom or we’ll fall apart utterly. Like Rome—conqueror of its own people.

David Foster Wallace, The Pale King 130 (2011).

Now I am a was

(via this isn’t happiness)

Happy Days

Samuel Beckett by Alex Martinez (Notting Hill, London, England, UK)

(via this isn’t happiness)

WINNIE: That is what I find so wonderful, that not a day goes by — to speak in the old style — hardly a day, without some addition to one’s knowledge however trifling, the addition I mean, provided one takes the pains. And if for some strange reason no further pains are possible, why then just close the eyes — and wait for the day to come — the happy day to come when flesh melts at so many degrees and the night of the moon has so many hundred hours.

Happy Days, a play by Samuel Beckett

Making Bacon

Cūku bēres ("pig slaughter") by Gunārs Binde, 1968

(via this isn’t happiness)

Danger

Dessins de Jan Mich (1958)

(via Richard)

Will time never pass?

(via Yimmy’s Yayo)

Michael Caine

29th July 1965: Cockney tough-guy actor Michael Caine reading a copy of the Evening News.

Photos

(via Sébastien Chou’s flickerstream)

In Eastern Germany, 2006

Wim Wenders
In Eastern Germany, Gorlitz
2006

** C-Print
183.5 x 210.2 cm framed
72 1/4 x 82 3/4 in framed**

HV35494

Haunch of Venison London is delighted to present an exhibition of photographs by the internationally renowned filmmaker and artist Wim Wenders (b.1945). Bringing together almost 40 images, taken from 1983 to 2011, this show is Wim Wenders’ highly anticipated second exhibition at Haunch of Venison since 2003. Entitled ‘Places,strange and quiet’, it will feature many photographs not yet exhibited in this country including several recent works.

For ‘Places, strange and quiet’ Wenders has assembled a fascinating series of large-scale photographs taken in countries around the world from Salvador, Brazil; Palermo, Italy; Onomichi, Japan to Berlin, Germany; Brisbane, Australia, Armenia and the United States. From his iconic images of exteriors and buildings to his panoramic depictions of towns and landscapes, the exhibition will present the full range of Wenders’ work, exploring how he created and honed remarkable images that continue to resonate powerfully. In his own words:

“When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots. I have a huge attraction to places. Already when I look at a map, the names of mountains, villages, rivers, lakes or landscape formations excite me, as long as I don’t know them and have never been there … I seem to have sharpened my sense of place for things that are out of place. Everybody turns right, because that’s where it’s interesting, I turn left where there is nothing! And sure enough, I soon stand in front of my sort of place. I don’t know, it must be some sort of inbuilt radar that often directs me to places that are strangely quiet, or quietly strange”.

(via Haunch of Venison)

Jean-Philippe Charbonnier

1/25

Jean-Philippe Charbonnier
Paris
[Psychiatric hospitals]
1954

Gelatin silver print
Galerie Agathe Gaillard

LL/15413

In 1954 Jean-Philippe Charbonnier documented French Psychiatric hospitals and this exhibition includes rarely seen photographs from the series.

Some of the photographs were first published in Réalités in January 1955. Here a selection of the original reportage is shown followed by the magazine layouts – published in the magazine with two fluffy cats on the cover. It is interesting to see that a number of most most powerful images were not published due to the sensitivities of the 1950s and that the eyes of the patients are at times masked to protect their identities.

In 2006 a 24 page booklet Jean-Philippe Charbonnier: HP hôpitaux psychiatriques was published by Le traitement contemporain n°4 in conjunction with gallery Agathe Gaillard.