Eva Stenram

技法はデジタル・マニュピュレーション。

ドレープシリーズ:見せないで、隠す。しかもモチーフとして女性の身体を使うあたりは、ベタな部分かもしれないが狙いとしては正しい姿勢だと思いました。


レタッチ・ヒストリーは図版が見当たりませんでしたが、他の人達も似たような作品を作っているので、通過点でしない気がしました。


僕個人の好みとしては、ドレープシリーズは、デジタルマニュピュレーション適用バランスのセンスがいいように感じます。しかし、写真の画面の中だけで作品として完結してしまうと、ついもう一ひねりを期待してしまいました。


良いところは、回りくどくなく、言葉の説明も不要で、視覚的にも分かりやすいとこでしょうか。今後の展開に期待したいです。



Eva Stenram (1976) was born in Stockholm and lives and works in London. In 2012 she was nominated for Le Prix Découverte des Rencontres d’Arles (Discovery Award) and in 2007 she won the Royal College of Art Graduate Award. In 2013, Stenram will also have a solo exhibition at Open Eye Gallery in Liverpool and is a finalist in the Hyeres International Photography Competition. 
One of her tutors at RCA was John Stezaker, the conceptual artist who became renowned for his surreal collages. There is a difference as to how Stenram appropriates pre-existing images in comparison to Stezaker: he is interested in the cut of the photo whereas she is interested in the digital cut and blending thereof. There is a disruption in Stenram’s photos, but it is not a physical disruption – the photographs remain flat and pristine. 
Stenram’s work has been exhibited worldwide, including the Mumbai City Museum in India, Zendai Museum of Modern Art in Shanghai and The Photographers’ Gallery and Victoria & Albert Museum (V&A) in London. The V&A and the Tate Gallery have included Stenram’s work in their collection.


EVA STENRAM 
Drape
 
March 11, 2013 – April 28, 2013

The Swedish born Eva Stenram calls herself “an artist who works with photographs”. Her source materials are photographs found in (vintage) magazines, on the Internet or from family photo albums that she digitally manipulates – leading to bizarre and arresting images. 
For her series, ‘Retouching History’, she wanted to explore a personal fantasy: “what would it be like to be the same age as your parents?” Using photographs from her family album, Stenram digitally inserted herself as a twenty year old seated next to her mother in a bar, as though a photograph had been taken of two drinking buddies. For ‘pornography/forest_pic’ she downloaded hardcore pornographic images from the Internet that are set within a forest but removed the human bodies. The presence of the bodies in the images are still felt, but the image appears like a crime scene in which the police have found a cloth spread on the grass together with some clothes. 

For her latest series, ‘Drape’, consisting of a mixture of black & white and colour images, she manipulated vintage pin-up photos of women who had been photographed in front of an interior curtain or drape. Stenram digitally extended the curtains to conceal the head and the naked torso, whilst the legs and arms are still shown. 

Through Stenram’s alterations the natural pin-up poses become unnatural and even funny as we see strange limbs sticking out from behind the drape. In some images the drape forms the shape of a pleated skirt. 

By covering the women with a drape the photographs become more erotically charged than the original exposed pin-ups as we can let our imagination run free about the naked bodies behind the curtain. A curtain is used to protect our privacy, a barrier between public and private space, but in Stenram’s erotic images it serves as a wall behind which thoughts can be kept private. We can gaze unashamedly and become a voyeur just like the protagonist in the film ‘Body Double’, who peeps, each night, at his female neighbour with a telescope. 

“I was interested in blocking out the main areas of interest in the image – making the focal point of the image disappear and instead make the background engulf the foreground”, says Stenram on her intentions behind ‘Drape’, adding, “Although the model is covered she still manages to tease the viewer to look at the picture and pay attention”.

NewImage

Drape VII 
Print size: 50 x 50 cm / framed 74 x 75 cm 
Edition of 5 
Lambda print on fibre based black-white paper


NewImage

Drape (Colour I) 
Print size: 60 x 60 cm / framed 84,6 x 84,3 cm 
Edition of 5 
Lambda print on Fuji Chrystal Archive paper


NewImage

Drape (Cavalcade VI) 
Print size: 20,4 x 27,2 cm / 35,8 x 42,9 cm 
Edition of 5 
Lambda print on Fuji Chrystal Archive paper


 

Eva Stenram brings together analogical archival material and digital manipulation, creating scenarios where the uncanny takes centre stage. Stenram often uses found images, such as negatives, magazines and images from the Internet, as her source of inspiration and working material. The square images all derive from original medium format negatives; the rest of the (rectangular) images are derived from the 1960s men’s magazine Cavalcade and retain their original size and layout in relation to the magazine page, with blank areas standing in for excised text. These are scanned or downloaded to digital files that the artist manipulates, reinterpreting at each time the image anew. Drape uses vintage pin-up photographs as its source material. Stenram sought out images, mainly from the 1960s, in which women are posed in interior (semi-) domestic sets in front of curtains or drapes. Manipulating these, she extended the curtains to partially obscure the women, re-enforcing the former’s role as a marker between public and private. The curtain vacillates between striptease-drape and blind or shutter. The background, meanwhile, envelopes the focal point and the foreground slips into the background. The pictures in Drape make no attempt to look ‘real’. Sections of the images are blurred that would normally be in focus; the gaze of the viewer is deflected and redirected, putting an overlooked part of the image in the spotlight. However, the presence of the model still teases the viewer into scrutinizing the picture. Her work questions our understanding of notions such as time and space, giving life to hybrid realms whose exact temporal and cultural coordinates are ambivalent and difficult to locate. Besides, by questioning the paradigms and hierarchical values of different photographic genres, the artist confers to found imagery altogether a new meaning.
 


LE MOIS DE LA PHOTO A MONTREAL 13

作家は、主に北米から、カナダ人、次いでアメリカ人。フランス語圏だからかフランス人。大御所でドイツ人など。アジアからは澤田知子が入っているようです。どのような展示なのか、実際の展示風景も見てみたくなりました。

キューレーション:Paul Wombell 
インタビュー:
http://www.sbcgallery.ca/#!conversation-with-paul-wombell/c1ze1

展覧会公式Web
http://www.moisdelaphoto.com/theme.html

 

2013 EDITION

For its 13th edition, Le Mois de la Photo à Montréal has invited renowned British curator Paul Wombell to develop an exhibition program around his theme, Drone: The Automated Image. From September 5 to October 5, 2013, visitors will have a chance to explore 25 exhibitions in 14 sites across Montreal.

 

ELINA BROTHERUS
MICHEL CAMPEAU
RAPHAËL DALLAPORTA
MAX DEAN
VÉRONIQUE DUCHARME
PASCAL DUFAUX
EXPVISLAB
MONA HATOUM
CRAIG KALPAKJIAN
SUZY LAKE
TREVOR PAGLEN
BARBARA PROBST
JON RAFMAN
DAVID K. ROSS
THOMAS RUFF
TOMOKO SAWADA
KEVIN SCHMIDT
CHERYL SOURKES
JULES SPINATSCH
JANA STERBAK
PENELOPE UMBRICO
WASSINKLUNDGREN
MICHaeL WESELY

展示 CANDIDA HÖFER

カンディダ・へーファー(Candida Hofer)

日程:2013.09.14 – 2014.09.02

http://www.smkp.de/ausstellungen/aktuell/candida-hoefer.html

 

NewImage

Dreischeibenhaus Düsseldorf IV 2011, 180 x 245 cm, C-Print, © Candida Höfer, Köln / VG Bild-Kunst Bonn 2013

 

NewImage

Neuer Stahlhof Düsseldorf III 2012, 54,5 x 45 cm, C-Print, © Candida Höfer, VG Bild-Kunst Bonn 2013

 

アートプログラム青梅に関わってきて。

武蔵野美術大学・芸術文化学科の授業で、私がアートプログラム青梅について学生に向けてお話することとなりました。

事務局としてこれまで4年間ほど、アートプログラム青梅に関わらせてもらっています。その中で、私の視点から見たもの、考えたものなどを中心に学生に伝えられたらいいのかと考えています。履修学生のためのものなので、一般の方は今回ご参加することは出来ません。ご興味がある方がいらっしゃれば、なにか機会を頂ければお話したいと思います。


日時:9月4日(水)18:00〜

場所:武蔵野美術大学鷹の台キャンパス