Brancolini Grimaldi has announced its selection of artists for this year's Paros photo which runs from 15-18 November at the Grand Palais, Paris.
The gallery will be exhibiting new work by Massimo Vitali, Miles Aldridge and Clare Strand as well as launching special edition books by Dan Holdsworth and Peter Fraser. From Marie Amar’s small-scale, intimate photographs of dust to Domingo Milella’s investigation of landscapes both ancient and modern Brancolini Grimaldi’s stand (Stand B24) will demonstrate the breadth and diversity of current photographic practice.
'Chromo Thriller #3' by Miles Aldridge
Miles Aldridge’s Carousel
is a new limited edition portfolio of prints being launched at this year’s Paris Photo. The portolio encapsulates Aldridge’s highly personal vision formed over the last 15 years through his work for magazines including Vogue Italia, Numéro, V Magazine and The New Yorker amongst others. Made up of 32 vividly coloured plates created using a technically innovative combination of lithographic and silk screen printing, the images are surrounded by bold blocks of pure colour ranging from silver to neon pink. Carousel is a swirling, narrative journey that revolves through Aldridge’s world of dazed housewives, decadent beauties, sunbathing sexpots and ecstatic Virgins. Beauty is everywhere, but it’s fraught with tension and anxiety.
will exhibit La Poussière, a series of 18 small photographs in which Amar transforms degraded material produced during the process of drying clothes, into photographic meditations on the nature of colour, time and the value of waste. Softly floating abstracts hover on the picture plane, the colours ranging from jewel-like reds and blues, through to sooty blacks and quotidian greys. The images reflect on the interaction between man and technology, a beautiful homage to the usually ignored residue of that interaction.
latest work, Transmission: New Remote Earth Views, appropriates data from the US Geological Survey to create topographical data to document the ideologically and politically loaded spaces of the American West in an entirely new way. In his images of the Grand Canyon, Yosemite, Mount Shasta, Mount St. Helens and Salt Lake City (Park City), we see stark, uninterrupted terrains where meaning is made through what it is absent, as much as what is seen. With neither the schema of the romantic nor the everyday to guide us, Holdsworth absorbs us into a vision of the unknown; a space that is unequivocally, transcendentally, Other.
'Acitrezza, Italy, 2008' by Domingo Milella
Domingo Milella will present Index, a compendium of 30 of the most evocative images from a body of work created over the last 10 years. The images will be presented as a visual sequence of themes and subjects that constitute his vision and quest. Milella’s subjects are cities and their borders, cemeteries and villages, caves and homes, tombs and hieroglyphs – in short, signs of man’s presence on earth. His interest is the overlap between civilisation and nature and how landscape and architecture are invested with individual and collective memory.
latest project has been created especially for Paris Photo. Based on the 19th century satirical novella, Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott, Strand has created a work in two parts; one part takes the form of three-dimensional geometric shapes in two large wall mounted cabinets, and the other framed two-dimensional representations of their flattened forms. Both pieces of work are created using photographic paper.
In the novella, a sphere from Spaceland (a 3D world) visits a square in Flatland (a 2D world) to introduce a new apostle to the idea of a third dimension in the hope of eventually educating the population of Flatland to the existence of Spaceland. Here, Strand’s work is considering and playfully manipulating the two-dimensionality of the photographic medium and hinting at the possibility a multi-dimensional ‘nth’ world.
has become one of the most celebrated contemporary photographers in world today, renowned for his large colour prints depicting the crowded beaches and shorelines of the Mediterranean Sea. For Vitali, the beach is a place where the mundane and everyday merges with natural beauty, and where he can confront Italians in a place of vulnerability. The images reflect a sense of freedom, even hedonism, but also a sense of conformity and even banality. In the background, industrial buildings such as factories and warehouses loom, a reminder that the escape to nature is temporary and artificial.
For more information, visit the Brancolini Grimaldi