New Photography 2006: Barbara Probst, Jonathan Monk, Jules Spinatsch
Temporary Discomfort, Chapter IV, Pulver gut.
World Economic Forum WEF, Congress-Center North and Middle Entry, Kurpark Davos-CH, 24. Januar 2003.
Surveillance Panorama A240635 : composed of 2176 still shots recorded with interactive network camera from 06h35 - 09h30.
4 Inkjet prints on panels, Total size : 220/560 cm,
3 DVD Hotspots 7'28 each, syncronized
Temp0rary Discomfort, Chapter III, Corporate Walls.
World Economic Forum WEF, Around Hotel Astoria, New York, 2002
3 C-Prints 80/100 cm (left)
Temp0rary Discomfort, Chapter II, Oppidum.
G8 Summit, Genoa, 2001
3 C-Prints 80/100 cm (right)
Temporary Discomfort, Chapter V, Revolution Marketing.
G8 Summit, Evian / Geneva, 2003
10 C-Prints 33/28 cm.
New Photography 2006: Barbara Probst, Jonathan Monk, Jules Spinatsch
NEW PHOTOGRAPHY 2006
Jonathan Monk– Barbara Probst– Jules Spinatsch
21.September 2006 – 8. January 2007
Exhibition Views
New Photography is the annual fall showcase of significant recent work in contemporary photography. This year’s exhibition features three artists from Europe. The Berlin-based British artist Jonathan Monk contributes a series of tongue-in-cheek photographs and two slide projections that play with the idea of falsified documents, interweaving moments of personal history with art history. German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system. The Swiss artist Jules Spinatsch presents a selection of works from his major photographic project Temporary Discomfort—making its New York premiere in this exhibition which documents the towns of Genoa, Davos, New York City, and Geneva/Evian during the 2001 and 2003 World Economic Forums.
Organized by Roxana Marcoci, Curator, Department of Photography
This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium’s relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.
The shaping of what came to be known as “New Vision” photography bore the obvious influence of “lens-based” and “time-based” works. El Lissitzky best summarized its ethos: “The new world will not need little pictures,” he wrote in The Conquest of Art (1922). “If it needs a mirror, it has the photograph and the cinema.”
Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, Jules Spinatsch, Valie Export, Paul Graham among others. Photographic history is presented as a multivalent history of distinct “new visions,” rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.
Organized by Roxana Marcoci, Curator, Department of Photography.