When discussing photography, one can no longer invoke the notion of proof, let alone concrete proof. In the wake of digital imaging techniques, and the profound sense of uncertainty they have caused in terms of the factuality of that which we see, Roland Barthes’s notion of “this-has-been” has indeed come under increasing strain.
In a time where technical imagery is becoming ever more precise, it is therefore surprising to see that a number of young artists are once again turning their attention to a series of techniques from the days of analogue photography. But rather than using these seemingly obsolete media for their nostalgic patina, the work of these artists deals with the representation of materials and processes, and hence, with photography as such. Narration here gives way to traces to be recorded, imprints or accumulations of indices - signs of something which “has been”, even if it was merely a material or a ray of light.

The photographic work of Marieta Chirulescu uses found imagery. Illustrations from the former Romanian art magazine Arte, private photographs or anonymous pictures were scanned and digitally manipulated by applying various layers of filters and effects or by retaining only fragments of the original representation. Certain motifs, which appear to represent actual objects, were in fact created digitally, while others are the result of handcrafted and re-photographed collages. Chirulescu’s complex image-finding processes, which combine analogue and digital technologies, produce images of unsettling depth. They materialise light itself (and its paths), for instance when a mirror is scanned and the technological device thus reaches its limits. A state at the brink of figuration, where things cannot yet be named, the reproduction of the surface structure of a sheet of paper: it is the make that induces the particular appeal of these apparently nostalgic yet hypermodern recordings. Chirulescu’s work thus addresses conceptual issues common to both photography and painting.

Alexander Gutke’s Camera (2008) is a model of Thomas Edison’s 1893 film studio, which was jokingly called “Black Maria” (derived from the nickname for the infamous black police wagons of the time). The original building, of which only a few photographs remain, was built from wood. Its roof featured an opening and the entire construction was set on rails in order to follow the path of the sunlight. Gutke’s steel model replica is covered in photographic emulsion. By capturing the light in the room, its surface records potential images which never materialise.
For his video animation Cine-scope (2008), Gutke scanned a film strip. Dust and scratches are the only identifiable elements on the otherwise plain film material. In Gutke’s work, these traces - which in any narrative-based film would distract the viewer from the cinematographic illusion - produce a trance-like effect. The superimposition of several layers and the enlargement of the visible particles suggest a spatial depth comparable to that which one experiences when riding through a forest landscape. By linking the analogue source to its digital representation, Cine-scope induces a vertiginous self-reflection of the medium.

The stylistic features of Josh Brand’s small-format photographs are reminiscent of experimental camera-less photography from the early 20th century. Brand exposes photographic paper to various analogue processes. Chance plays a decisive role in the production of his works, for instance when he lays out sheets of photographic paper in his apartment, partly covering them up and exposing them to both artificial and natural light over the course of several days. Drawings on the surface of the paper as well as various colour printing techniques expand the pictorial means of Brand’s work beyond those of the classic photogram. Rather than representing a purported reality beyond the picture, these unique photographs constitute autonomous artistic objects made from photographic material.

Michael Snow’s Slidelength (1969-1971) comprises 80 slides projected in intervals of 15 seconds. Among others, the pictures recurrently show a hand holding colour filters and a shard of glass, but also prints of stills from the film Wavelength (1967) into the frame of the image. The light of the projector lamp is partly reflected by these various surfaces. On both the represented and the actual wall in the exhibition space, it creates colour fields when falling on transparent materials. Slidelength simultaneously shows its various sources (technical devices, light, film strips) and the result that was produced using them.

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Josh Brand
Né en 1980 à Elkhorn, Wisconsin, USA
Vit et travaille à Brooklyn, New York, USA

Expositions individuelles
• Herald St, Londres (2009)
• Statements, Art Basel, Bâle (2009)
• Liste 08, Herald St, présentation en duo avec Brian Moran, Bâle (2008)
• White Columns, New York, NY (2007)

Expositions collectives et Projections
• Strip Stripe, Emily Harvey Foundation, New York (2009)
• A Twilight Art, Harris Lieberman, New York (2009)
• My Summer Show, Galerie Lelong, NYC, curated by Cristina Delgado (2009)
• Bianca Beck, Josh Brand, Matt Connors, Zak Prekop, Hayley Tompkins, Sue Tompkins, Shane Campbell, Chicago, USA (2008)

Avec le groupe Hurray (Richard Aldrich, Josh Brand, Pete Mandradjieff & Zak Prekop)
• Bring the War Home, Elizabeth Dee Gallery, New York, NY, QED, Los Angeles, CA (2006)
• Hurray, The Mandrake, Los Angeles, CA (2006)
• The Fact, Abstract, Dorsky Gallery, Long Island City, NY (2006)
• Surfing the Surface, Galleria Paolo Bonzano, Rome, Italie (2006)
• Hurray, Project Room, Nicole Klagsbrun Gallery, New York, NY (2005)

Visuels:



Links:
http://www.fusetronsound.com/label.php?whomart=hurray
http://www.heraldst.com

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Marieta Chirulescu
1974 née à Sibiu, Roumanie
Vit et travaille à Berlin, Allemagne

Expositions individuelles (sélection)
• Projektraum der Temporären Kunsthalle Berlin (2009)
• Kunsthalle Mainz, Mayence (2009)

Expositions collectives (sélection)
• Against Interpretation, Studio Voltaire, Londres (2009)
• Marieta Chirulescu / Sascha Hahn, Galerie Kienzle & Gmeiner, Berlin (2009)
• Nothing to say and I am saying it, Kunstverein Freiburg (2009)
• Marieta Chirulescu / Claudia Kugler, Galerie Sima, Nuremberg (2009)
• Marieta Chirulescu / Manuela Leinhoß, DickSmith Gallery, Londres (2008)
• Ulla Rossek / Marieta Chirulescu, samsa project room, Berlin (2008)
• Fade to Grey, bell street project space, Vienne (2007)
• Finish, ehem. Autohaus Tschernitz, Karlsruhe (2007)

Visuels:



Links:
http://www.marieta-chirulescu.de
http://www.mickyschubert.de

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Alexander Gutke
Né en 1971 à Gothenburg, Suède
Vit et travaille à Malmö, Suède

Expositions individuelles (sélection)
• Culturgest, Porto / Museum of Contemporary Art, Detroit, curated by Chris Sharp (2009)
• Galerija Gregor Podnar, Berlin (2008)
• Hollybush Gardens, Londres (2007)
• Sies + Höke Galerie, Düsseldorf (2007

Expositions collectives (sélection)
• Un Plan Simple, La Maison Pop, Montreuil, curated by Le Bureau (2009)
• L’éternel Retour 1: La Méduse, La Salle de Bains, Lyon (2008)
• Object, The Undeniable Success of Operations, Stedelijk Museum Bureau, Amsterdam (2008)
• Trava Linguas (Tongue-twister), Vera Cortes, Lisbon, Portugal. curated by Joana Neves (2008)
• Die Wörter, Die Dinge, Kunstverein Düsseldorf (2007)
• Objet à part, La Galerie, Noisy-le-Sec, curated by Bettina Klein (2006)
• Phases of the Moon, Irma Vep Lab, Lieu de création contemporaine, Châtillon sur Marne (2006)

Visuels:



Links:
http://www.gregorpodnar.com

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Michael Snow
Né en 1929 à Toronto, vit et travaille à Toronto, Canada

Expositions individuelles (sélection)
• Yes Snow Show, at BFI Southbank Gallery, Londres (2008)
• Michael Snow, La Box - école Nationale Supérieure d´Art de Bourges (2005)
• Instant Snow, Centre Georges Pompidou, Paris (2002)
• Michael Snow - Fragments d'une rétrospective - 1962-1999 - Mamco - Musée d´art moderne et contemporain, Genève (2000)
• Panoramique. œuvres photographiques & films 1962-1999, Société des Expositions du Palais des Beaux-Arts, Bruxelles/ Centre national de la photographie, Paris / Centre pour l’image contemporaine, Genève (1999)
• Michael Snow - Musée d´art contemporain de Montréal, Montréal, QC (1995)
• Michael Snow - Centre Pompidou - Musée National d´Art Moderne, Paris (1978)
• Projects: Michael Snow, Photographs - MoMA - Museum of Modern Art, New York, NY (1976)

Michael Snow a participé à de nombreuses expositions collectives, dont récemment:
See this Sound au Lentos Kunstmuseum à Linz (2009/2010), à la Manifesta 7 (Amsterdam, 2008), la 16ème Biennale de Sydney (2008), la 27ème Biennale de São Paulo (2006), la Whitney Biennial, New York (2006), à l’exposition Stillness en duo avec Sam Taylor-Wood au MoMA -Museum of Modern Art, New York (2005).

Visuels:



Links:
http://www.ccca.ca
http://www.martineaboucaya.com
http://www.angelsbarcelona.com
http://www.cuttsgallery.com
http://www.jackshainman.com

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Commissaire invitée: Bettina Klein
*1970 à Wadern / Sarre, vit et travaille à Berlin.
études d’histoire de l’art et de littérature française à Marburg, Toulouse et Berlin.

Commissariat d'expositions (sélection) :
• Personne, exp. collect. (Becky Beasley, Gert Robijns, Eiko Grimberg), Galerie Schleicher & Lange, Paris (nov. 2009)

Commissaire des expositions du prix artistique allemand blauorange:
• Kitty Kraus, Kunstverein Heilbronn (2008)
• Björn Braun, Kunstverein Braunschweig (déc. 2009)

• Filaturen, exp. collect. (Hervé Beurel, Simon Denny, Sergej Jensen, Ian Kiaer, Kitty Kraus, Victor Man, Gyan Panchal, Gert Robijns, Pierre Savatier), Galerie Sies+Höke, Düsseldorf (2007)
• Le mythe du cargo, exp. collect. (Gérard Fromanger, Tue Greenfort, Daniel Pflumm, Bernard Rancillac, Franck Scurti, Iren Stehli, Christine Würmell), Galerie Fernand Léger, Ivry-sur-Seine (2007)
• Objet à part, exp. collect. (Ryan Gander, Alexander Gutke, Maria Loboda, Kirsten Pieroth, Wilhelm Sasnal, Albrecht Schäfer, Florian Slotawa, Simon Starling), La Galerie, Noisy-le-Sec (2006)
• Ce qui reste, exp. collect. (Oystein Asaan, Hervé Beurel, Tue Greenfort, Markus Lohmann, Jonathan Monk, Manfred Pernice, Albrecht Schäfer, Corinna Schnitt, Monika Sosnowska, Christine Würmell), FRAC Bretagne, Galerie du TNB, Rennes (2004)

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Horaires d’ouverture
Ouverture du mercredi au dimanche de 14h à 18h.
Fermeture les jours fériés

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Visites commentées
Visites commentées et accueil scolaire sur rendez-vous au +33 (0)3-88-25-69-70 - services entièrements gratuits - www.ceaac.org.

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CEAAC
7, rue de l'Abreuvoir
F-67000 Strasbourg, France
Tél. : +33 (0)3-88-25-69-70
Fax : +33 (0)3-88-35-59-77
www.ceeac.org
info@ceeac.org

Gérard TRABAND
Président du CEAAC
Vice-Président de la Région Alsace

Evelyne Loux
Directrice

Paul Guérin, Chargé de mission
Karine Jumel, Assistante de direction, contact presse
Élodie Gallina, Chargée des relations internationales
Gérald Wagner, Chargé des relations avec le public
Roland Görgen, Régisseur

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Accessibilité
Du centre ville, place de l’Homme de Fer, 2 solutions :

Prendre le tram A direction Illkirch Lixenbuhl ou tram D direction Etoile Polygone, arrêt Etoile Bourse ; puis prendre le bus 15 direction Robertsau Mélanie, arrêt Cité Administrative.

Prendre le tram C direction Esplanade arrêt Esplanade ; puis prendre le bus 15 direction Holtzheim Ouest arrêt Cité Administrative.


Agrandir le plan

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Colophon
Commissaire invitée: Bettina Klein
Design: Heimann und Schwantes, Berlin
Réalisation: Josse de Bruijne, Leipzig

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