Monday, 14 May 2012

Photographic abstraction, 'Recto/Verso' at The Approach, London

Recto/Verso Michele Abeles, Robert Heinecken, Alexandra Leykauf, Dóra Maurer, Lisa Oppenheim, Erin Shirreff, The Approach, London
This is an interesting exhibition from just over a month ago at The Approach, with specific look at Erin Shirreff and Dora Maurer from Hungary. ''Recto/Verso' is an exhibition that looks at the way six different artists engage with photographic image making and the ambiguous perceptual relationships between object and representation. Be it through contingency, staging, iconicity, or imagined physicality, there is an investigation in to how we read and experience images.'
Erin Shirreff, 'Four Sides' 2012, Four archival pigment prints, 61cm x 61cm each

'Erin Shirreff’s film ‘Ansel Adams, RCA building, circa 1940’, takes as its source imagery the classic American photographer’s architectural portrait of Rockefeller Plaza. Made by re-photographing the same image hundreds of times to counterfeit changing light and climate conditions, it appears to be a time-lapse film of the building itself. She re-imagines a physical and temporal relationship to the autonomous iconic original photograph of building as monument. This shift between the sculptural and photographic is also emphasized in her ‘Four Sides’ series, which similarly destabilizes the viewers sense of perception by taking two photographs of a minimal sculptural form, bisecting the flattened image and reconnecting it in four different permutations that appear to recreate four different sculptures. Shirreff investigates the spaces and intervals between these translated forms and images to animate the imaginative space of what we see and don't see.'
Dóra Maurer, 'Sluices 2 A+B', 1980
Photogram, 59x45 cm each

Dóra Maurer is an important figure in the Hungarian avant-garde art scene. Her artistic process of displacement and change manifests itself in different disciplines, one strand of which is photographic. There are constructive, concrete art methods at work in the way changes are created through translations, progressions and variations. Movement is to be understood not as mechanical but as movement for the eye, movement as the process of perception. Laszlo Beke describes her oeuvre as ‘Objective Tenderness’. Her use of a camera allowed the course of movements to be shown, ways of action and body talk to be made visible in sequences. In the series ‘Blind Touching of Objects’ Maurer wrapped the photo paper around everyday objects from her studio. The imprint of the object becomes the form of the photogram. In her series ‘Sluices’ she moves from a photograph, to a photogram, to a dustgram – all using a template abstract structure to record their different physical traces of movement through it.' Aso see Lisa Oppenheim's 'Heliograms'...
Lisa Oppenheim, 'Heliograms', 1876/2011.
Toned photograms exposed with sunlight, framed with museum glass, 31x31 cm each

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