The galleries have been announced, the artists confirmed, but do you know who’s who? In the weeks leading up to Unseen Amsterdam 2018 we’ll be shining a light on each of the artists represented by the participating galleries. This week we’re moving a little further afield with five galleries from Switzerland and Spain.
Camara Oscura Galeria de Arte
Javier Viver (ES, 1971) brings together photography, drawings and sculptural body castings to present The Archive of the Unclassifiable, the photographic archive at the Hospital Pitie-Salpêtrière — the first in clinical psychiatry. Viver will be signing copies of his currently sold-out book, Révélations, Iconographie de la Salpêtriere. Paris 1875-1918 on Friday evening during Unseen Amsterdam 2018. Creating a visual gateway into the enchanted world of children’s games with two adult women as players and inventors, Elina Brotherus (FI, 1972) presents work from the series Règle du Jeu. Finally, bringing some fresh talent into the mix is Jorge Isla (ES, 1992), an emerging visual artist who delves into the differences of the human perception in relation to the photographic camera and the realities that cannot be perceived by the eye. Isla’s series Spluttering is definitely not one to miss.
Image: Desnudo, from the series Archive of the Unclassifiable, 2016 © Javier Viver (Camara Oscura Galeria de Arte)
Continuing his exploration into geographical territory, Douglas Mandry (CH, 1989) will launch his premiering body of work, Monuments, at this year’s edition of Unseen Amsterdam, which includes photograms of ice blocks collected from melting glaciers in Switzerland. Peering into the medium of photography itself, artistic duo Albarrán Cabrera (both b. ES, 1969) will also be premiering work from two series: Nyx (Night) and The Mouth of Krishna, both of which are united by their investigation into the ways in which the image can trigger individual memories in the viewer.
Image: Monument/Aletsch #8, from the series Monuments, 2018 © Douglas Mandry (BILDHALLE)
With all artists both premiering work and signing copies of their books during the fair, be sure to schedule this gallery into your visit to Unseen Amsterdam 2018. Premiering her series Le Soleil Des Loups, Marine Lanier (FR, 1981) once again questions themes of territory and landscape. Meanwhile, Lucas Olivet’s (CH, 1986) Kopjec Bonawentura examines the uncertainties of memory in a time when photography is used in contradictory ways and build a narrative that is elusive. To complete the gallery’s exhibitions, Jonathan Llense’s (FR, 1984) L’Heure du Tigre rebuilds a new visual landscape completely out of context, employing décor, kitchen tools and rubbish to create visual theatrical spin-offs.
Image: Untitled #8, from the series L’Heure du Tigre, 2016 © Jonathan LLense (Espace JB)
Christophe Guye Galerie
Christophe Guye Galerie (CH) brings premiering work from both its exhibiting artists. Risaku Suzuki (JP, 1963), presents Koi, which investigates the act of seeing water, further delving into our consciousness of seeing, while Lina Scheynius (SE, 1981) captures scenes from daily life with her 35mm camera, exploring and observing friends, lovers and herself with refreshing honesty, in her series Flowers.
Image: Untitled, from the series, Flowers, 2017 © Line Scheynius (Christophe Guye Galerie)
Galerie Stephan Witschi
Visual artist Martin Kollar (SK, 1971), who works as a freelance photographer and cinematographer finds his images very literally along the roadside. For his latest series, the artist roamed the roads of Europe, capturing provisional arrangements with his camera, turning them into monuments of day-to-day uncertainty with a subtle sense of humour. Continuing to bring the all-too-relevant issue of climate change to the fore, Ester Vonplon’s (CH, 1981) latest series observes snow intervening with nature and the landscape. Revisiting the very personal issue of being present in the here and now, Jungjin Lee (KR, 1961) connotes an opening of the heart, a sense of deep interaction between the beholder and the physical present of earth, stone, tree and sky in her latest series, Opening.
Image: Untitled, from the series It Would Take 50 Flakes to Make One Gram, 2017 © Esther Vonplon (Galerie Stephan Witschi)