Posted 1 year ago

urbanautica: OPEN CALL 'FAUNA': OLIVIER SCHER

urbanautica:

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«ENFANTILLAGE(S) is a series of photographic diptyches addressing the relationships between Humans and Animals. The photographic work that juxtaposes photos of children playing with cuddly toys “animals” with photos of real dead animals by the roadside wants to be deliberately…

Posted 1 year ago

fr.ulule.com

ENFANTILLAGE(S) is a series of photographic diptyches addressing the relationships between Humans and Animals. The photographic work that juxtaposes photos of children playing with cuddly toys “animals” with photos of real dead animals by the roadside wants to be deliberately provocative. The main idea was to stress how the construction of our relationship with animals, which is embedded in affective links symbolized by the cuddly toy from early childhood, skews our knowledge of real animals that surround us. Our empathy for the pet, the companion tends to erase any thoughtfulness towards the wild animal whose name and even the very existence are often ignored.

The objective of my project is to expose this series of 10 diptyches in different places, starting with Montpellier city. The collected funds will thus serve the editing and framing of the photos (format 30 x 90). I have been working on this series for more than a year now and I really care about exposing it soon.

Posted 2 years ago

urbanautica:

HIROCHI SUGIMOTO

«Throughout the mid to late 1970s and upwards, Hiroshi Sugimoto packed up a folding 4x5 camera & tripod, surreptitiously entered matinees (and, one can only presume, evening film events) and documented the interior of movie theatres across the United States - invoking a classic procedure borrowed from Conceptual Art. He would open the shutter just before the ‘first light’ hit the screen and close it after the credits finished rolling and before the house lights came on. Using this method he was able to invert the subject/object relationship of the movie theatre and use the film itself to illuminate the proscenium and interior. However - it’s MORE than that, isn’t it? There is also a social and political critique implicit to the gesture. The rendering of a ‘blank’ movie screen carries with it a whole series of alternate implications that are highly relevant to a culture of consumption.  The unavoidable allusions of mass social programming and lack of content are implicit in the act. This content, largely unaddressed crtiically, is what lends the images their incredible power - along wtih the natural fascination of being made privy to the photography’s divine birthright - allowing us to see the normall invisible - to experience a finite collapse of time». 

© C4 GALLERY

Posted 2 years ago
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Posted 2 years ago

- BIER CHRITSMAS FIGURINES - 2011

Sometimes, you just have to open your eyes :-)

(Source: olivierscher.net)

Posted 2 years ago

alecshao:

Liu Bolin, Invisible Man

(Source: likeafieldmouse)

Posted 2 years ago

- ANIWALL 1 - 2011

(Source: olivierscher.net)

Posted 2 years ago

A morning, again…

(Source: olivierscher.net)