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RMH
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JBB: An Artblog!

❣ Chile in a Photography ❣
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STELARC

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Museum Boijmas van Beuningen, Rotterdam, The Netherlands.
11/06/1997 - 17/08/1997
"The first solo exhibition by Maison Martin Margiela. The exhibition is held in the glass pavilion of the museum, built in the 1980's. Eighteen dressed dummies represent all previous Martin Margiela collections (Spring/Summer 1989 up to autumn Winter 1997-8). Garments chosen from each season are specifically reproduced in whites, creams and grays. A collaboration with a prominent Dutch microbiologist (Dr. Van Egeraat). Each outfit is treated with different strains of bacteria, yeast and mould, all isolated from the air and nurtured to provide varying colours and textures . Over the first five days of the exhibition these organism develop on the clothes and, once their gestation period is complete change the colour and aspect of the garments. All eighteen silhouettes remain on the exterior of the Pavillon and may be viewed only from the inside thought its glass structure. This handbook, covered in white cotton contains three books: Book (a) represent the Maison Martin Margiela, (b) the garments and their treatment and (c) is a reference book on bacteria and microbiology."
CINDY SHERMAN
Cindy Sherman plays with the viewer by giving them, through ambiguity, the possibility to assign whatever meaning they prefer to the photos: saints, heroines, actresses from 1950s and 1960s films, from advertising, fashion, Renaissance art, pornography, the circus... female stereotypes extracted from mass media. A truly radical perspective, Cindy Sherman primarily represents a human condition in an overtly artificial way—vulnerable women, hesitant, wandering, seductive, hostile little girls, sometimes mistreated, sometimes divas. Throughout her work, the multiplicity of female identity is depicted.
"To escape identity means to succeed in altering, modifying, multiplying the distinction between Self and Other." In Sherman’s work, everything revolves around the relationship between identity and representation. When faced with the demand for a fixed identity, Cindy Sherman responds with her photographs, portraying herself in disguise, oscillating between masculine and feminine, real and fake, alive and dead, past and present—working through the alterations of her image, her own body, and her identities.
NOBUYOSHI ARAKI
Nobuyoshi Araki artist who photographs bodies with extreme eroticism, sadomasochistic sexuality—bodies marked by sacrificial and unnatural death. "Photography defines my body, my time, my thoughts, my emotions. At times, I feel almost like a parasite sucking life through my camera," he says. Araki’s work maintains a constant interplay between life and death, the feeling that even in the most seductive, most erotic images, there is something "deadly": coldness, solitude, alienation, tension, hallucination. As shown in his work on his wife Yoko, Araki’s photography is diaristic in nature—keeping a diary through images to document friendships, relationships, places, the city, and bodies.
KIKI SMITH
Forest, 2006
Glitter ink and silver leaf on Nepalese paper

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MAKI SAKAI + TAKASHI HOMMA
SHINCHO MOOK : Montly Maki Sakai
TAKASHI HOMMA
Collaboration between Japanese actress Mako Sakai and photorapher Takashi Homma for the monhly magazine Shincho Mook.
DAIDO MORIYAMA
PROVOKE 2
March 1969
The sequence of photographs entitled "Eros" featured a naked woman in a room in the Shibuya district revealing he indomitable body that she unfolded at will in sensual poses. The only interruption was a steamy window the heated up the session. The woman's hidden face, the half light and the point of view from the bed reinforced the atmosphere of seduction and intimacy, at the same time launching the viewer into the scene, offering them the role of the photographer and/or lover.
NAN GOLDIN
Trixie on the Cot, 1979
Print on cibachrome, 50,8 c 61cm
LISETTA CARMI
Pasquale (I travestiti) 1968
Print on Hahnemuche paper

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DAIDO MORIYAMA
NOBUYOSHI ARAKI
In the tumultuous 1960’s photography sought it place in the public discourse; in Tokyo the photographic world was buzzing with the ambitious exhibition A CENTURY OF PHOTOGRAPHY (1968), while in the publishing world the major happening was the the launch of the magazine Provoke, created and published by art critic Koji Taki, poet Takahiko Hokada and photographers Yutaka Takahashi and Takuma Nakahira. With the subtitle “Provocative Materials for Thought,” the publication reflected the heated climate of the time. “Images do not constitute thought in themselves,” Provoke’s editorial roared. “What we photographers can do, indeed must do, is capture with our eyes those fragments of reality which are utterly impossible to capture with existing world, and actively keep creating materials to confront those world and thoughts.” To overcome what they saw as staged, it was necessary to challenge the idea of neutrality of the image and of photgraphic equipments, investigating layers that are barely visible. Takahiko Okada suggested that the truth of the image lay in the investigation of the human being who should confront the forms of organization of society, the economy and the family, in search of subterranean, unknown, and demonic forces. Moriyama debuted in the magazine’s second issue, released in 1969 under the theme “Eros”; in this issue Okada wrote about the relationship between image, eroticism and fetishism. The poet argued that the material progress of society offered false cultural progress in exchange of for the increasing repression of individuals’ sexual desires with repression turning into the consumption of images “The excessive maturation of capitalist society, like rotting overripe fruit, causes sexual phenomena and sexual images to spread.” Replacing reality with a simulacrum brought the sexual debate closer to discussion about mass society, and the consumption of images. “Representation of reality seems more real then reality itself, at which point that conduit is not only not performing its function but is generating, in a like manner, the perverted phenomenon in which what the media delivers is received and fetishistically enjoyed”, he summarized.
Roland Barthes wrote in his essay “Camera Lucida - Reflections on photography” that one of the distinguished marks of our times is this overturning in which our lives are based upon a generalized imaginary; Such a reversal inevitably raises the ethical question—not because the image is immoral or diabolic, but because, if generalized, it ends up derealizing the human world of conflict and desire, rather it wants to illustrate it. What characterizes so-called advanced societies is that today they consume images rather than, as in the past, beliefs. They are therefore more liberal, less fanatical, but also more 'false'—less 'authentic'.
Noubuyoshi Araki the same age of Moriyama began developing his style from a homemade collection of photographies, he quickly connects the phots with his personal style, which at the time were associated with copy, mass media and printed materials. At the same time he was presenting sexuality in an explicit fashion. There was a fake quality to the staged photos in which Araki himself appeared, mixing fiction with reality.
Facing sexual repression was, therefore, also freeing photography from a narrow view of reality.
Il contatto tra la mia pelle e l'acqua fredda
attiva i miei sensi
e
silenzia la mia coscienza
KIKI SMITH
Kiki Smith explores the human and animal body through an intimate and symbolic lens, paying particular attention to themes of fragility, spirituality, and mythology. Her artistic language is poetic and mystical, using imagery that evokes fairy tales, religion, and folklore. Unlike approaches rooted in industrial or dystopian settings, Smith’s work is characterized by a narrative and evocative tone, where the body is not deconstructed but becomes a vessel through which natural and symbolic forces flow. Her art reflects on the transformation of matter and the interconnectedness of all living beings, offering a contemplative vision grounded in both nature and myth.
TRACEY EMIN
I've got it all, 2000
Digital print, 1219 x 91,4 cm
Tracey Emin, with her visceral and autobiographical language, creates works that oscillate between confession and introspection, capturing moments of vulnerability and strength, and building a bridge between the artist’s inner world and external perception. I've got it all (2000) is a photographic self-portrait in which the artist appears in a provocative pose, seated on the floor, with banknotes scattered between her legs: an image that explores sexuality, desire, and the ambiguous relationship with money and power.
DAIDO MORYIAMA

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ALEXANDER MCQUEEN
S/S 2001
What is beauty to you? "It’s in the eye of the beholder. It can be anything, it depends on who the person is. It can be someone who is not conventionally attractive, but who has something beautiful about them. It doesn’t have to be a model — it’s really about what’s inside the person."
-Text is from an interview by FAM in "WEAR YOUR HYBRIDATION"
HELMUT NEWTON - POLA WOMAN
"Le Con" (The idiot) stored in the cellar of Bruno's salon, Paris c.1980
Helmut Newton's Pola Woman is a selection of his polaroid studies, giving has glimpses in what lies behind the magic of his erotic photographic art. The Polaroid represents the raw material of his imagination which lays bare the nerve of erotic sensitivity. Also, their not-yet-perfect artificial styling still leaves room for the viewer's imagination.