Victor Burgin’s ‘Photopath’ Unlocked Multi-Dimensionality in Photography 50 Years Ago. Now, the Work Is Resurfacing in New York


“A path along the floor, of proportions 1×21 units, photographed. Photographs printed to actual size of objects and prints attached to floor so that images are perfectly congruent with their objects.”

So read a set of simple, if ambiguous, instructions that Victor Burgin wrote on a single index card in 1967. When followed, the prompt yields a line of photographs that are exactingly printed to mimic the floor on which they’re installed—so much so, in fact, that it’s easy to miss them altogether. 

This was Photopath (1967-69), an era-defining work of mid-century photo-conceptualism that still mystifies today, even if—or, indeed, because—it leaves its viewers with more questions than answers. Photopath is the subject of both a new book and a show. The latter, a dedicated exhibition at Cristin Tierney Gallery that opens today, marks the first time in more than 50 years that the influential artwork will be installed in New York.

Victor Burgin, typed instruction for Photopath, 1967. Courtesy of the artist and Cristin Tierney Gallery, New York.

Burgin, now 81, wasn’t a photographer when he created Photopath 51 years ago. He didn’t own, or even really know how to use, a camera. What the technology represented to him was a means to an end—or, more accurately, the “solution to a problem,” he said in a recent interview.

The British-born artist was getting his graduate degree at Yale in the late ‘60s and was hyper-conscious, as many young artists are, of his place in the iterative evolution of artistic ideas and movements—that process where a generation of makers responds to the one that preceded it, and in doing so, establishes a new set of issues for the successive generation to take up. 

“We felt, back then, that our generation had to find the problem. Once you found the problem, then you knew what your artistic problem was; it was solving that,” Burgin said. 

On the artist’s mind were the slightly older mid-century minimalists—Donald Judd, Carl Andre, and his then-teacher at Yale, Robert Morris—whose formally rigorous work often resisted close examination and instead gestured outward, to the spaces in which it was installed. But Burgin was after something more elusive, something even non-material. 

“It struck me then that maybe I found the problem,” he said, recalling it in the form of a question: “What could I do in a gallery that would not add anything significant to the space yet would direct the viewer’s attention to [their] being there?” It was into this context that Photopath was born.

Victor Burgin, Photopath (1967-69), installation view, Nottingham, 1967. Courtesy of the artist and Cristin Tierney Gallery, New York.

The artwork was one of several index cards that Burgin wrote after he had returned to the U.K. Creating instructions for hypothetical artworks satisfied his desire “to do away with the object” in his work, but the cards, too, felt unfulfilled; he needed to enact the prompts to complete them.

So he did. Photopath was first realized on the scarred wooden floor of a friend’s apartment in Nottingham in 1967, then again at the Institute of Contemporary Arts, London in 1969 and at the Guggenheim in 1971. 

Though the piece was conceived as a kind of sculpture—or an anti-sculpture, perhaps—its impact, in retrospect, feels emphatically photographic. Like few artworks before it, Photopath exploited the medium’s uncanny ability to nestle in between image and object, illusion and idea. If the artwork doesn’t compel its viewers to consider these ideas intellectually, it at least makes one feel them through interaction. Do you treat it like a sculpture or a picture? Or is it not an artwork at all and instead just another stretch of floor? Do you step on Photopath’s prints or walk around them? 

“It is hard to imagine an act of photography more straightforward and uncompromising than Photopath,” writer and curator David Campany explained in his recent book on the artwork and its legacy, published last October by MACK.

“It aims to fulfill the basic potential of the medium, which is to copy and to put itself forward as a stand-in or substitute. Yet,” Campany went on, “in meeting this expectation so literally, it somehow estranges itself.”

Victor Burgin with Francette Pacteau photographing the brick floor at Kettle’s Yard, Cambridge, 1984. © Andrew Nairne / Kettle’s Yard, University of Cambridge. Courtesy of Victor Burgin and Cristin Tierney Gallery, New York.

To date, Photopath has only been installed a handful of times, the most recent instance of which came in 2012 at the Art Institute of Chicago’s “Light Years: Conceptual Art and the Photograph, 1964-1977” exhibition, when it was laid upon the polished wood boards of the museum’s Renzo Piano-designed atrium. After the run of the show, Burgin’s prints were discarded, leaving a dark, ghostly silhouette on the sun-soaked floor. He had, in a sense, created another type of photograph.

“I thought, ‘That’s just perfect.’ It really returns [the artwork] to the origin of photography,” Burgin said, noting that the show felt like a fitting conclusion for the artwork. He thought that would be the final time Photopath would be shown.

But that changed last year when Campany approached the artist with the idea of writing his short book about the artwork—a piece of writing that blends analytic art theory and personal experience, often to lyrical effect. What Campany identified in Burgin’s artwork was a kind of foresight for how photographic technology is used today. 

David Campany, Victor Burgin’s Photopath, 2022. Courtesy of MACK.

“[J]ust as Vermeer had pursued an important technical development in the picturing of three-dimensional space, so too had Burgin anticipated aspects of representation that are just as pervasive: the replication of surfaces, and the uncertain space between images and their mental impressions. Fake leaves on plastic plants. Laminated tabletops imitating stone or wood. Synthetic clothing pretending to be denim or leather.”

“Photographic ‘skins’ are everywhere in contemporary life,” Campany concluded. “They are not pictures, at least not in the conventional sense, but are a fact of our contemporary material, visual, and virtual experience.”

Victor Burgin: Photopath” is on view now through March 4, 2023 at Cristin Tierney Gallery in New York. Victor Burgin’s Photopath by David Campany is available now through MACK.

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An African Photography Biennale Makes a Case for Mali as a Creative Hub—But the Global Art World’s Bad Habits May Hold It Back


During last month’s edition of Bamako Encounters–African Biennale of Photography, as dusk arrived following a captivating artist talk by revered Nigerian photographer Akinbode Akinbiyi, southern winds carrying Saharan dust settled over Mali’s capital and clouds of bats took flight between the trees across a lavender-hued sky. 

Pioneering photographers such as Seydou Keita, Abdhourahmane Sakaly, and (of course) Malick Sidibe loom large here. And at such moments, even an untrained eye can understand how Bamako is an image-maker’s paradise, and a seemingly perfect setting for a photography biennale. The city’s endlessly compelling, starkly geometric architecture—angular and curved, Sahelian, colonial, and contemporary—is magnificently illuminated by the light. 

In early December 2022, dozens of artists from across the world convened for the 13th edition of the Bamako Encounters, which runs until early February 2023. It is titled “On Multiplicity, Difference, Becoming, and Heritage,” a theme that invites the audience to consider moving past understandings of the world that focus on singularity and essentialism, creating room for movement, change, and malleability. Mali is a country with diverse geologies and geographies, inevitably yielding varying ways of living and cultures. This biennale thus explores a universally applicable theme in a place where liminal spaces are ever present. 

Highlights

Spread across seven key sites, including the National Museum of Mali and a disused train station that formerly connected Bamako to Dakar, a standout feature from this edition of the biennale is its substantial inclusion of artists from across the African Diaspora.

Still from Baff Akoto, Leave The Edges (2020).

One of the noteworthy works from the biennale, Leave the Edges (2020), which won the biennale’s Grand Prix/Seydou Keita award, came from artist-filmmaker Baff Akoto, who was raised between Accra and London. The work explores African and Diasporic spiritualities, and how they have mutated and transformed across time and in different spaces, as a metaphor for a wider conversation around cultural exchange.

An exceptional and meditative piece, employing tender cinematography, subtle lighting, and mesmerizing soundscapes, Leave the Edges is a poetic movement film melding performance art and commemorations of slave rebellions in Guadeloupe.

Installation view of works by Anna Binta Diallo, both 2022. Photo by Photp by Tobi Onabolu.

Meanwhile at the National Museum, Anna Binta Diallo’s futuristic looking work explores the historical roots of folklore and storytelling. Employing a variety of maps, prints, and images superimposed onto outlines of human forms, Diallo invites us to consider what it means for humanity to exist in symbiosis with the natural environment. Concurrently, she explores concerns such as migration, identity, and memory. 

Installation view of works by Anna Binta Diallo, both 2022. Photp by Tobi Onabolu.

Sofia Yala works in the same vein, but on a more personal level within the setting of her own family, questioning the notion of the body as an archive. Yala’s work involves screenprinting her grandfather’s archives—whether private notes, I.D. documents, or work contracts—onto photographs taken by Yala in domestic spaces. Through the process, she is able to uncover deeper layers of identity—a poignant exercise in the context of reconnecting with the artist’s Angolan heritage.

Installation view of works by Marie-Claire Messouma, all 2022. Photo by Tobi Onabolu.

Over at the former train station, sub-themes of magic, the ethereal, and eternity emanate through more conceptual and abstract works. Marie-Claire Messouma’s mystical, melismatic photography aims to spark a conversation about humanity and the cosmos, mixing textile sculptures, ceramics, and other materials, and evoking the feminine.

Similarly, in Fairouz El Tom’s work, the artist questions where the “I” ends and the “you” begins within the discourse of human ontology, prompting vital discussions around the interconnectedness of humanity—or, perhaps, the lack thereof, in this age of uncertainty.

Installation view of works by Thembinkosi Hlatshwayo, all 2019. Photo by Tobi Onabolu.

In Thembinkosi Hlatshwayo’s haunting works, we are invited to reflect on the legacies of human violence and the enduring trauma that comes from it. Drawing on his own past and personal experiences, Hlatshwayo has converted the tavern where he grew up—a site of intense trauma—into his studio, demonstrating a tangibly curative element within his practice. 

Who Is It For?

With a high-profile curatorial team attached to the biennale under the artistic direction of superstar curator Dr. Bonaventure Soh Bejeng Ndikung, Bamako Encounters is a triumph for the artists, and undoubtedly an impressive notch on any exhibition C.V. Yet the hyper-conceptual nature of “On Multiplicity, Difference, Becoming, and Heritage,” married with sub-par scenography that often attempts to emulate the white cube model, also creates a disconnection between organizers and audiences, prompting questions, the most pressing of which is: “who is this really for?” 

The well-curated, robust program of artist talks and conversations was predominantly attended by the artists themselves, alongside other industry practitioners, once again creating the all-too-familiar echo chambers that the art world is known for. The same problem is felt with the text-heavy, exclusive language of art that accompanies this exhibition, often using insular vocabulary that very few people outside of the industry even understand. 

In recent times, the scrutiny of these echo chambers, and the industry at large, have become well popularized by the likes of the Instagram-based account @freeze_magazine. Such critiques often touch on how the art world perpetuates harmful capitalist tendencies, whose victims include both humans and the environment; the flaws and hypocrisy of institutional spaces; and general elitism. And at points, the 13th edition of Bamako Encounters might be guilty of all three offenses, even if to only a fraction of the degree of the Venice Biennale or other biennials in the Global North, or the market at large. 

Installation view of works by Adama Delphine Fawund, all 2020. Photo by Tobi Onabolu.

“If the art only exists within institutional spaces it makes you wonder who is it really for and how is it functioning?” exhibiting artist Adama Delphine Fawundu told Artnet News, reflecting on these challenges. “I think most artists are making work that deals with subject matter that actually interrogates the institution. Therefore, what’s important about this biennale is the way that it’s documented, through the books and the text. Fifty years from now, what will people be saying about today? And if the work is not being documented at least for the future, then the biennale has to be interacting with people. How do you take it outside of the museum or the gallery space, and actually engage with real people that we see around? Because this is what we’re actually concerned about.” 

And although this edition of Bamako Encounters has a central theme that relates so directly to contemporary realities in Mali, access to these conversations is largely limited to industry practitioners and socio-economic elites, many of whom were flown in specifically for the opening weekend (inevitably producing excessive quantities of carbon emissions just for the biennale to take place). In African contexts, the debate around the most effective modes of presentation and sharing critical artistic work with new audiences continues to bubble.

Nevertheless, perhaps the biennale’s biggest strength was that it became this meeting point for important, unfiltered conversations between artists and practitioners who may never have met otherwise. Indeed, amidst an onslaught of almost-farcical organizational errors, including missing baggage and overbooked hotels, the artists rallied together, evoking the power of the collective through their inter-generational and cross-cultural collaborations and exchanges. With the sheer number of artists present for this event greatly outnumbering overbearing know-it-all curators, hard-to-please institutional overlords, and opportunistic dealers, Bamako provided the platform for real connections to emerge between its exhibiting artists.

And so, despite underlying political uncertainty in Mali, fears of a global recession, and the overarching problems of the global art system, the 13th edition of Bamako Encounters emerges as a success, albeit with a plethora of concerns left to consider. 

The 13th Edition of Bamako Encounters, African Biennale of Photography, is on view at venues throughout Bamako, through February 8, 2023.

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The New Centre for British Photography in London Is the First Space Dedicated Entirely to U.K.-Based Artists in the Medium


Photography aficionados will need extra stamina to explore the seven exhibitions spread over three floors at the launch of the Centre for British Photography in central London on January 26.

Principally, the 8,000-square-foot space on Jermyn Street will house the Hyman Collection, the private collection of Claire and James Hyman widely considered one of the world’s major repositories of British photography. Over 3,000 significant works by more than 100 artists—such as Bill Brandt, Cecil Beaton, and Martin Parr—since 1900 are included. Until now, it was only available to view online.

Bill Brandt, David Hockney (1980). © Bill Brandt / Bill Brandt Archive Ltd. Courtesy of the Centre for British Photography, London.

The center will give a historical overview of British photography and—importantly—present the diverse landscape of British photography as it exists today. “There is no venue specifically dedicated to artists working in photography in Britain,” Founding Director James Hyman told Artnet News.

“While institutions such as Tate and the V&A have extraordinary, encyclopedic collections, they are not devoted to photography, or to British photography,” he continued. “We have one of the most substantial collections of British photography, which we wish to make more public.”

Natasha Caruana, Fairy Tale for Sale (2011-2013). Courtesy of the Centre for British Photography, London.

The new center, Hyman said, is “committed to presenting a diverse view of photographic practice in Britain,” which the opening program embodies. One of the major opening shows takes its name from Bill Brandt’s seminal publication of 1935, The English at Home, presenting over 150 works that explore the central place of the home in 20th-century British photography.

In “powerful contrast” to this is the group show “Headstrong.” Curated by Fast Forward—a research group designed to promote and engage with women and non-binary people in photography across the globe—the show will focus on recent self-portraits by women working in photography.

Trish Morrissey, Pretty Ogre (2011), part of “Headstrong. Courtesy of the Centre for British Photography, London.

“This exhibition foregrounds artists and photographers who have been using self-portraiture as a tool to crack open the oppressive, often punishing nature of patriarchy,” explained Anna Fox, Director of Fast Forward. “From exposing cyberbullies to exploring the multiplicity of female identity, these portraits reinvent outdated concepts of how we should behave, how we should be, and what we can become.”

The center will also reopen with three solo exhibitions by Heather Agyepong, Jo Spence, and Natasha Caruana. “Each show is different but, by putting these artists together—each of whom uses theater and performance—connections can be drawn,” Hyman said to Artnet News.

The new center is for anyone with an interest in photography—amateur or professional. It will be free to visit year round, and will present self-generated exhibitions, shows led by independent curators and organizations, as well as monographic displays, events, and talks. “We hope visitors will get a sense of the incredible range and diversity of historical as well as contemporary photography in Britain,” added Hyman.

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The New Centre for British Photography in London Is the First Space Dedicated Entirely to U.K. Artists Working in the Medium


Photography aficionados will need extra stamina to explore the seven exhibitions across three floors at the opening of the Centre for British Photography in central London on January 26.

The 8,000-square-foot new space on Jermyn Street will house the Hyman Collection—the private collection of Claire and James Hyman, widely considered one of the world’s major libraries of British photography. Over 3,000 significant works by more than 100 artists—such as Bill Brandt, Cecil Beaton, and Martin Parr—since 1900 are included. Until now, it was only available to view online.

Bill Brandt, David Hockney (1980). Courtesy of the Centre for British Photography, London.

The center will give a historical overview of British photography and—importantly—present the diverse landscape of British photography as it exists today. “There is no venue specifically dedicated to artists working in photography in Britain,” Founding Director James Hyman told Artnet News.

“While institutions such as Tate and the V&A have extraordinary, encyclopedic collections, they are not devoted to photography, or to British photography,” he continued. “We have one of the most substantial collections of British photography, which we wish to make more public.”

Natasha Caruana, Fairy Tale for Sale (2011-2013). Courtesy of the Centre for British Photography, London.

The new center, Hyman said, is “committed to presenting a diverse view of photographic practice in Britain,” which the opening program embodies. One of the major opening shows takes its name from Bill Brandt’s seminal publication of 1935, The English at Home, presenting over 150 works that explore the central place of the home in 20th-century British photography.

In “powerful contrast” to this is the group show “Headstrong.” Curated by Fast Forward—a research group designed to promote and engage with women and non-binary people in photography across the globe—the show will focus on recent self-portraits by women working in photography.

Trish Morrissey, Pretty Ogre (2011), part of “Headstrong. Courtesy of the Centre for British Photography, London.

“This exhibition foregrounds artists and photographers who have been using self-portraiture as a tool to crack open the oppressive, often punishing nature of patriarchy,” explained Anna Fox, Director of Fast Forward. “From exposing cyberbullies to exploring the multiplicity of female identity, these portraits reinvent outdated concepts of how we should behave, how we should be, and what we can become.”

The center will also reopen with three solo exhibitions by Heather Agyepong, Jo Spence, and Natasha Caruana. “Each show is different but, by putting these artists together—each of whom uses theater and performance—connections can be drawn,” Hyman said to Artnet News.

The new center is for anyone with an interest in photography—amateur or professional. It will be free to visit year round, and will present self-generated exhibitions, shows led by independent curators and organizations, as well as monographic displays, events, and talks. “We hope visitors will get a sense of the incredible range and diversity of historical as well as contemporary photography in Britain,” added Hyman.

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Noémie Goudal’s Photo and Video Collages Trick the Eye. But They’re All About Revealing, Not Concealing, Her Process


The French artist Noémie Goudal is an illusionist. But unlike a magician pulling a rabbit out of a hat, Goudal provides the viewer with enough clues to understand her creative process. Her photographs and videos of palm trees and burning vegetation derive from the creation of printed décor, like stage sets, which clearly differentiates her art from the work of a documentary photographer. 

Several images on the stand of Galerie Les Filles du Calvaire at Paris Photo in the Grand Palais Éphémère this past weekend, conveyed Goudal’s preoccupations with nature and her working method. 

For Mountain III (2021), Goudal erected jagged pieces of cardboard in front of a partially snow-capped landscape. In order not to deceive the viewer about her intervention, she left the edges of the cardboard visible in the ensuing work.

For Phoenix V (2021), she sliced her own photographs of a palm tree into vertical and horizontal strips, which she installed in the same landscape in order to make another picture. The overlapping layers of strips conjure a deconstructed image. Black spaces in between the branches and the artificial light illuminating some of the leaves denote how the original conditions were nocturnal. Meanwhile, the visibility of the clips and cables communicates the work’s artifice.

Noémie Goudal, Mountain III (2021). Courtesy Galerie Les Filles du Calvaire.

 

“What I try to instill in the image is all the artisanal side, so you can find the gesture of fabricating the image within the image itself,” Goudal told Artnet News. “For me, it’s very important to involve the viewer so that they can live a bit of the [image-making] experience.”

To capture the palm trees, Goudal and her team of assistants drove to southern Spain, taking along equipment like cameras, computers, a printer and lighting. “We made a kind of deconstruction of the landscape and the result of this performance is represented in the photos,” she said.

Born in Paris, Goudal, 38, studied graphic design at Central Saint Martins in London before attaining a MA in Photography from the Royal College of Art. “There’s better and more varied teaching in England; the schools have a good reputation and the students are very free,” Goudal said about her decision to study abroad. 

From the beginning of her practice, Goudal has been interested in the hovering interface between fictional images and reality. To make her early works, she would install a photograph of a landscape somewhere very different—such as capturing a print of a misty, tropical road inside a dusty barn. 

In the last few years, Goudal’s work has become increasingly ambitious in scale and media. She has had exhibitions at the Photographer’s Gallery in London, the Finnish Museum of Photography, and Foam Photography Museum in Amsterdam, among other venues. Notably, her works have entered the collections of the Centre Pompidou, the CNAP – France’s visual arts collection, and Germany’s Fotomuseum Winterthur.

Noémie Goudal, Phoenix V (2021). Courtesy Galerie Les Filles Filles du Calvaire.

As part of this summer’s Rencontres d’Arles photography festival in the south of France, Goudal had an exhibition, “Phoenix,” in a deconsecrated gothic church called Église des Trinitaires. On view in the chapel’s nave were two captivating videos evincing her fascination with representation, installation, and performance. 

Inhale Exhale (2021) opens with a verdant, tropical landscape, like a postcard cliché. But the palm trees are soon revealed to be printed on placards, which begin to emerge and move, eventually collapsing in the rain. Then an identically constructed jungle appears, only to meet the same drowned fate. The piece was filmed in the wood of Vincennes, near Paris, wherein the décor was placed. 

The second video, Below the Deep South, (2021), is more terrifying, showing lush vegetation being set ablaze. The edges of the sheets of images lick with flames, burn and vanish. Then another, and yet another, layer of images catches fire in a perpetual cycle of repetition and destruction. Eventually, the ravaging flames stop flickering and embers amass on the floor of an industrial site. This ‘making of’ ending indicates that this is where the sheets of images were installed. Clarity is given to the mastered fakery, the poetic illusion is rendered comprehensible.

One immediately wonders if the dystopian vision is a reflection on the fires in the Amazon rainforest during Jair Bolsonaro’s presidency of Brazil. But Goudal replied that this was not the starting point. Rather, it was researching deep time and paleoclimatology, the study of the climate history of the earth and how a better understanding of the earth’s climate in the past relates to its present and future climate. 

Noémie Goudal. Film still from Below the Deep South (2021). Courtesy of Les Filles du Calvaire gallery and the artist.

“What interests me through these videos is trying to see the metamorphoses of the earth in a much broader sense than during man’s era, and looking at the destruction of fire but also at how it is a very important force of energy,” Goudal said. “When we speak to paleoclimatologists, we realize to what extent the earth was subjected to metamorphoses, like blasts and volcanoes, which allowed man to exist, and it’s this balance that we’re trying to save now.”

It is this transversal quality of Goudal’s practice—working across techniques and media, and exploring the earth’s different geological epochs—that makes it distinguishing, according to Stéphane Magnan, co-founder of Galeries Les Filles du Calvaire. The gallery sells her photographs, in an edition of five, priced between  €18,500 and €28,000 ($18,330-$27,740), depending on the format. Videos, also in an edition of five, are priced at €20,000 ($19,810).

“This artist proposes a very subtle work that destabilizes the viewer by deconstructing the landscape,” Magnan said. “This very particular, offbeat vision triggers fundamental issues about the earth’s transformation and proposes an aesthetic recomposition of our world.”

The theme of destruction is treated slightly differently in the black-and-white video, Untitled (Study on Matters and Fire), 2022. Commissioned for the group exhibition, “L’horizon des événements,” at Château d’Oiron in western France this summer, it shows a bleak, actual wasteland located beyond the periphery of Paris. 

One quickly perceives that the austere image is a composition of different elements, centered by a large circle whose edges become aflame. As the billowing, blackened paper tumbles, the fire devours the landscape. Through a system of photographic anamorphosis, the destruction gives way to the real, unravaged landscape behind.

Noémie Goudal, Untitled (Study on Matters and Fire) (2022). Exhibition view Château d’Oiron. Photo: Anna Sansom.

 

“The contract with Jean-Luc Meslet, director of the Château d’Oiron, was to produce works in situ, in or near the château, and we looked with Noémie for a forest that could be filmed in May but this turned out to be impossible so we couldn’t respect this contractual clause,” the exhibition’s curator Patrice Joly explained. “I find this new film even more powerful – it totally finds its place in the château’s grandiose setting, the sound fills the large room under the eaves […] and makes us feel the power and magnetism of fire – it’s a magnificent piece.”

Goudal, who cites Christopher Williams, Wolfgang Tillmans, Andreas Gursky and Zoe Leonard as references, has also ventured into interdisciplinary projects. At the Festival d’Avignon, south of France, this summer, she collaborated with stage director Maëlle Poésy on a performance piece, Anima. Next to a landscape-metamorphosis video, a dancer performed on a metallic, gridded structure of the same dimensions as the video screen. 

Goudal has also made a foray into sculpture. At her exhibition, “Post Atlantica,” at Edel Assanti in London earlier this year, several spherical, kinetic sculptures were on display alongside photographs and videos. 

Indeed, Goudal aspires for her conceptual work to defy classification and be appreciated beyond the confines of photography. “It’s still complicated to show photographic work in a contemporary art context,” Goudal lamented. “As there are fairs dedicated to photography, a gallery will think of showing their trending photographer at Paris Photo rather than at Paris+ [par Art Basel]. I understand but it’s just classifying [artists who work with photography] even more. I suffer a lot from this.”

Besides, Goudal is hardly a photographer in the traditional sense. “Photographers who make documentary and more classical work don’t see mine as classical photography,” Goudal added. 

Certainly, what drives Goudal is developing a multifarious practice, rich in intellectual exploration. “It’s very natural for me to use all these different media,” she said. “What interests me is studying the image from lots of different viewpoints and, above all, the experience of creating the image.”

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Asia-Pacific’s Largest Photography Fair Will Host Its Inaugural New York Edition Next Fall


Photofairs, Asia’s largest photography fair, will make its debut in New York next year.

Event organizer Creo has announced the first Photofairs New York will take place from September 8–10, 2023 at the Javits Center, just next door to the Armory Show. Held in partnership with Angus Montgomery Arts, the fair will showcase photography, film, and virtual reality works, spotlighting about 100 international galleries. Exhibitor applications are now open.

“We have great admiration for the Armory Show and its long-standing track record,” Creo CEO Scott Gray told Artnet News. “Bringing the unique offerings of the two fairs together under one roof will be mutually beneficial.” The Javits Center, he said, is “a purpose-built exhibition center well suited to the requirements of galleries and visitors alike.”

According to Jeff Rosenheim, the Metropolitan Museum of Art’s photography curator, the city itself is likely to be receptive. “New York’s enthusiasm for photography is almost unbounded,” he noted in Creo’s press release. “This will bring new energy to the fall season in New York.”

The 2017 edition of Photofairs Shanghai at the Shanghai Exhibition Centre. Photo by Simon Song/South China Morning Post via Getty Images

Gray founded Creo in 2007 as the World Photography Organization, a company whose roster now encompasses the Sony World Photography Awards, Sony Future Filmmaker Awards, and Photo London. He currently also serves as CEO of Angus Montgomery Arts, which oversees India Art Fair, Taipei Dangdai, and Art Düsseldorf, among other fairs.

“Creo has since grown in scope, furthering its mission of developing meaningful opportunities for creatives and expanding the reach of its cultural activities to film and contemporary art,” Gray explained.

In 2014, Creo launched the now-signature Photofairs Shanghai. Between 2017 and 2019, the group tried hosting two rounds of a San Francisco edition, but gave up after learning it cost more than $1 million to produce.

Photofairs New York will organize exhibitors into four sections. “Galleries” will encompass all exhibitors chosen by Creo’s Selection Committee, comprising of international galleries, and the fair’s Advisory Group of international collectors—who will also cultivate an audience of buyers for the event. International fair partner Meta Media Group will expand the fair’s global footprint.

Photo courtesy of Photofairs New York.

Meanwhile, the “Platform” section will hold space for booths by galleries that have logged less than eight years in the business and artists aged under 35. “Screen” will showcase galleries working in new technologies such as VR and NFTs. “Film” will focus on moving image as a medium.

Since photography has gone from a technically specialized skill to a widely embraced medium, Gray reflected, “I believe there is demand for a new fair in photo-based works and new technologies, which really reflects current market trends and explores how we interact with digital culture.” Creo is looking to further embrace experimental practices and seminal photographers alike—and catch both seasoned and emerging collectors.

 

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Spotlight: From Bowie to Beyoncé, Markus Klinko’s Celebrity Photography Defined the Aughts


Every month, hundreds of galleries add newly available works by thousands of artists to the Artnet Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click.

What You Need to Know: Founded in 1997 by Jeff Jaffe, Pop International Galleries has come to be recognized as invaluable to both the New York City gallery scene and contemporary art community for its laser focus on genres with mass appeal like Pop art, urban art, and photography. Recently, Pop International Galleries announced their representation of world-renowned celebrity photographer Markus Klinko. Originally from Switzerland, Klinko and his work were discovered early in his career by fashion editors Isabella Blow and Ingrid Sischy, both of whom commissioned him for magazine covers and other editorial shoots. Shortly after, Iman and David Bowie hired him to photograph them for projects. Since then, Klinko has photographed some of the world’s most famous people and created numerous iconic images that have become hallmarks of 21st-century pop culture—and his work has appeared in such legendary publications as Harper’s Bazaar, Vogue, GQ, and Interview. More recently, Klinko was the subject of the Cube Art Fair collaboration with Versace, which saw 30 of his images exhibited in Versace’s Miami flagship store.

Why We Like It: The 2000s had a distinctive, high-gloss aesthetic, and Klinko was a shaping force of visual culture in the early aughts. Many of the most iconic and recognizable photos of pop stars and celebrities have been captured by his camera lens, including as album covers for Beyoncé’s Crazy in Love and Mariah Carey’s The Emancipation of Mimi. His photographs of music stars like Britney Spears and Lady Gaga not only became famous in their own right, but also helped shape the stars’ respective celebrity brands. Printed by Weldon Color Lab on Fujicolor Crystal Archive Digital Pearl Paper, Klinko’s work comes to life and beckons viewers to look back at era-defining moments and celebrities. As one of the most admired photographers of the 2000s through today, Klinko’s representation by Pop International Galleries—dedicated to fostering a high-quality yet accessible collecting experience—is more than fitting.

Photographer Markus Klinko on set. Courtesy of Pop International Galleries, New York.

According to the Artist: “Jeff at Pop International Galleries shows some of my all-time favorite artists ever: Warhol, Basquiat, Lichtenstein, Haring…it doesn’t get any better! To see my work on display at Pop International right next to these heroes of mine is just incredible. Andy Warhol’s creative director for Interview magazine, Marc Balet, gave me my start in the industry, and having that work now at Pop, it feels like things are coming full circle!”

See featured works by Markus Klinko below.

Markus Klinko, Beyoncé, Dangerously in Love (2003). Courtesy of Pop International, New York.

Markus Klinko, Britney, The Forest (2004). Courtesy of Pop International, New York.

Markus Klinko, The Protector (2002). Courtesy of Pop International, New York.

Markus Klinko, The Savior (2001). Courtesy of Pop International, New York.

You can browse Pop International on Artnet or visit the gallery at 195 Bowery, New York.

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