Thoughts of a Night Sea | Garry Fabian Miller
Lux 2, 2001.
Lux 11, 2001.
Lucent 12, 2000.
July 6, 2000.
Lux 10, 2001.
July 18, 2000.
Born in 1957, Garry Fabian Miller has made exclusively ‘camera-less’ photographs since the mid 1980s. He works in the darkroom, shining light through coloured glass vessels and over cut-paper shapes to create forms that record directly onto photographic paper. These rudimentary methods recall the earliest days of photography, when the effects of light on sensitised paper seemed magical.
‘Thoughts on a Night Sea’ is perhaps Miller’s most personal and reflective works to date, in that it echoes one of his first breakthrough pieces: ‘The Sea Horizon’ (1976 – 1977). Deeply formal, yet profoundly spiritual, Fabian Miller’s imagery straddles the Modernism of international figures such as Donald Judd, Elsworth Kelly and James Turrell with a sense of essential Englishness, and an appreciation of the sublime.
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Thoughts of a Night Sea, Photographs by Garry Fabian Miller
Garry Fabian Miller : Lavinia Greenlaw
Merrell Publishers
2003
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The Image as Rememberance | Giovanni Chiaramonte & Andrei Tarkovsky
Civitavecchia, March 19, 1982
Civitavecchia, March 19, 1982
Bagno Vignoni, 1979-1982
Bagno Vignoni, 1979-1982
Bagno Vignoni, 1979-1982
Just outside Citta Ducale, ‘Church in the Water’, November 1982
An instantaneous mirror of memory, every photograph leaves a motionless trace of what has been, a fixed imprint of something that is no longer what it was before,a silent simulacrum of someone who has disappeared forever from our field of vision. And, as a simple act of remembering, the photograph seems to testify only to the disappearance and death of people and of the feelings that bind us to them, of things and of places where they belong.
Seen in this way, the act of remembrance is the recording of information imposed on the mind by exterior reality, according to the linear logic of necessity, the inexorable law of nature, the Euclidean mechanism of cause and effect that structures and governs human history in the shape of tragedy. The artist Tarkovsky says, must be ‘capable of going beyond the limitations of coherent logic, and conveying the deep complexity and truth of the impalpable connections and hidden phenomena of life’,* the deep complex truth of a life in which he was raised as the heir of one of the greatest poets of the generation of Pasternak, Mandekshtam, Akhmatova and Tsvetaeva.
For the poet Arseny Tarkovsky, Andrei’s father, ‘death does not exist/ we are all immortal/ and everything is immortal. At Seventeen/ one should not fear death, nor at seventy./ Being and light alone have reality, darkness and death have no existence,/ We are all already on the shore of the sea/ and are among those who drag the nets/ while immortality gleams beside them./ Live in the house and it will not fall down./ I shall call forth any century at all,/ to enter into it and build my house./ This is how your children and wives/ will sit with me at the table,/ One sole table for ancestor and descendant./ The future is happening now.’*
Within this genealogy, Andrei Tarkovsky… believes that ‘an artistic image is one that ensures its own development. This image is a grain, a self-evolving retroactive organism. It is a symbol of actual life, as opposed to life itself. Life contains death. An image of life, by contrast, excludes it, or else sees in it a unique potential of the affirmation of life. Whatever it expresses – even destruction and ruin – the artistic image is by definition an embodiment of hope, it is inspired by faith. Artistic creation is by definition a denial of death. Therefore it is optimistic, even if in an ultimate sense the artist is tragic.’*
* Andrei Tarkovsky, Sculpting in Time, translated by Kitty Hunter-Blair, London, 1986
* Arseny Tarkovsky, ‘Life Life’, in La steppa [The Steppe], Pistoia, 1998
* Andrei Tarkovsky, Time Within Time: The Diaries 1970-1986, translated by Kitty Hunter-Blair, London, 1994
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Instant Light: Tarkovsky Polaroids
Edited by Giovanni Chiaramonte & Andrei Tarkovsky
Introduction by Tonino Guerra
Thames & Hudson
2004
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October 18, 1977 | Gerhard Richter
Arrest 1 (Festnahme 1). 1988. Oil on canvas, 92 x 126.5 cm
Confrontation 2 (Gegenüberstellung 2). 1988. Oil on canvas, 112 x 102 cm
Confrontation 3 (Gegenüberstellung 3). 1988. Oil on canvas, 112 x 102 cm
Hanged (Erhangte). 1988. Oil on canvas, 201 x 140 cm
Record Player (Plattenspieler). 1988. Oil on canvas, 62 x 83 cm
Cell (Zelle). 1988. Oil on canvas, 201 x 140 cm
Man Shot Down 2 (Erschossener 2). 1988. Oil on Canvas 100.5 x 140.5 cm
Dead (Tote). 1988, Oil on canvas, 62 x 73 cm
Funeral (Beerdigung). 1988. Oil on canvas 200 x 320 cm
In mid-winter 1989 a quiet tremor shook Germany. Judged from the outside, the extent of its impact might initially have seemed out of proportion to the actual cause. But as a long delayed aftershock and a wholly unexpected aftershock to the much greater upheavals of a decade earlier, the jolt caught people off guard, and reawakened deep-seated, intensely conflicted emotions.
The epicenter of this event was in Krefeld, a small Rhineland city near Cologne where, between February 12 and April 4, 1989, a group of fifteen austere grey paintings were exhibited at Haus Esters, a local museum designed in 1927-30 as a private residence by the modernist architect Ludwig Mies van der Rohe. The author of these works was the then fifty seven year old painter Gerhard Richter, well known for the heterogeneous and enigmatic nature of his art, which ranged from postcard-pretty landscapes to minimal grids, alternatively taut or churning monochromes to crisp colour charts, and heavily textured, even garish, abstractions to cool black-and-white photo based images. The ensemble on view at Haus Esters belonged to the latter genre, which had preoccupied Richter from the outset of his career in 1962 until 1972 but which he had seemed to abandon since then. However the subject of the new paintings was unlike anything he had addressed before. Both the subject and the fact that an artist of Richter’s indisputable stature had chosen to paint it stirred Germany and, in short order, sent reverberations around the world.
Richter’s theme was the controversial lives and deaths of four German social activists turned terrorists: Andreas Baader, Gudrun Ensslin, Holger Meins and Ulrike Meinhof. The collective title, October 18, 1977, commemorates the day the bodies of Baader and Ensslin – along with their comrades, the dying Jan-Carl Raspe and the wounded Irmgard Möller – were discovered in their cells at the high-security prison in Stammheim, near Stuttgart, where they had been incarcerated during and after their trials for murder and other politically motivated crimes. Almost exactly three years earlier (October 2, 1972) Holger Meins had died from starvation during a hunger strike called by the jailed radicals to protest prison conditions. Ulrike Meinhof had been found hanging in her Stammheim cell (May 9, 1976) shortly before she and the others were sentenced to life terms. Her death was ruled as suicide as were those of Baader, Ensslin, and Raspe the following year (October 18, 1977), although there was widespread suspicion that the four had been murdered.
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October 18, 1977 | Gerhard Richter
Robert Storr
The Museum of Modern Art, New York
2000
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October 18, 1977, Museum of Modern Art, New York
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6+ | Antwerp Fashion
Haider Ackermann, Autumn-Winter 2006-2007
Veroniuque Branquinho, Spring-Summer 1998
Dries Van Noten, Autumn-Winter 1997-1998
Haider Ackermann, Spring-Summer 2006. Tilda Swinton in Purple Fashion Magazine, Vol.3, nr.5, Summer 2006
Raf Simons, Spring-Summer 1998
A.F Vandevorst, Spring-Summer 1999
The ‘Six’ in the title refers to ‘The Six of Antwerp’ — Dirk Bikkembergs, Ann Demeulemeester, Walter Van Beirendonck, Dries Van Noten, Dirk Van Saene and Marina Yee — who have been renowned in the world of fashion since the beginning of the 1980s. The ‘plus’ refers to Martin Margiela on the one hand, because he is often bracketed together with ‘The Six’ and on the other hand, to the next generation of designers who have always added new aspects to the Antwerp identity. Finally, the ‘plus’ also refers to photographers, stylists, graphic designers and make-up artists, who have only strengthened the impact of the Antwerp fashion image. The Antwerp style is often described as a type of fashion with a strong feel for identity and tradition, as a conceptual type of fashion that can be interpreted as a reflection on the system of fashion that never gets lost in an abstract artistry or thought. Antwerp fashion is praised by many journalists and buyers because of its unique balance between realism and creativity, which also explains the huge commercial success. With works by Bernhard Willhelm, Raf Simons, Patrick Van Ommeslaeghe, Kris Van Assche, Haider Ackermann, Les Hommes, Lieve Van Gorp, Bruno Pieters, Peter Pilotto, Veronique Branquinho, Jurgi Persoons and A.F. Vandevorst.
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6+ | Antwerp Fashion
Kaat Debo : Geert Bruloot
Ludion Ghent
2007
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Fashion Department | Royal Academy of Fine Arts
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Eleonora | 2001
Hair by Guido
Photography by Uli Holz
Make-up by Diane Kendall
Photographic assistance by Lissa Hahn
Printing by Pierre Dal Corso
Model: Eleonora at IMG
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‘Heroes’ : The Inspiration Issue
Guest edited by Raf Simons
i-D #206
February, 2001
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Forever I Am A Part Of You And Me | 2001
Robbie wears jacket, waistcoat, shirt, tie and denim trousers all by Raf Simons Archive; vintage combat boots from Naughty I, Antwerp.
Chloe wears vintage waistcoat by Martin Margiela; jacket and trousers by Balenciaga; T-shirt by Raf Simons Archive.
Robbie wears jacket by Comme des Garçons Homme Plus; waistcoat by Martin Margiela; shirt and tie by Raf Simons Archive; trousers by Louis Vuitton.
Chloe wears sleeveless jacket by Raf Simons Archive; vintage dress by Helmut Lang; vintage leggings by Stephen Sprouse.
Robbie wears jacket, waistcoat, shirt, tie and trousers all by Raf Simons Archive; vintage combat boots, stylist’s own.
Chloe wears jacket, dress and leggings by Veronique Branquinho; T-shirt by Raf Simons Archive; vintage combat boots, stylist’s own.
Chloe wears suit by Comme des Garçons; vintage combat jacket from Waterlooplienmarket, Amsterdam; boot’s stylists own. Robbie wears jacket, shirt and tie all by Raf Simons Archive; vintage combat waistcoat from Waterlooplienmarket, Amsterdam; trousers from Naughty I, Antwerp; boots stylist’s own.
Robbie wears waistcoat by Martin Margiela; jacket by Louis Vuitton, shirt, tie and trousers all by Raf Simons Archive.
Chloe wears vintage waistcoat by Martin Margiela; T-shirt by Raf Simons Archive; skirt by Veronique Branquinho.
Chloe wears jacket by Raf Simons Archive; vintage dress by Stephen Sprouse.
Photography by Willy Vanderperre
Styling by Olivier Rizzo
Hair & Make-up by Peter Philips
Hair Colouring by Tom Malongre
Assisted by Annemie Meyers
Models: Chloe at Vision & Robbie
Special thanks to Stephen Sprouse, Pia Versele, Gerrit Bruloot, Marian Eggers and Raf Simons.
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‘Heroes’ : The Inspiration Issue
Guest edited by Raf Simons
i-D #206
February, 2001
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12 | 2010
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Icons by Nirmala
21st January, 2010
Wunderkammer Studio
62 Ponsonby Rd, Auckland
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A Line in the Water | Norman Ackroyd & Douglas Dunn
Atlantic Sunlight, Kerry
2008 · 20.5 x 33 cm · [579]
Sailing very close to Little Skellig, the rock is relegated to a backdrop by the size, noise and smell of the birds.
Tay bridge
1988 · 14.5 x 18.5 cm · [1988/3]
Oranmore, Evening
1998 · 18.5 x 26 cm · [1998/5]
Oranmore Castle, which dominates the inner reaches of Galway Bay, was commandeered as barracks by Oliver Cromwell in the mid-seventeenth century.
1996 · 15 x 20.5 cm · [1996/3]
2000 · 19 x 27 cm · [2000/4]
Rora Head, Hoy
1997 · 15 x 21 cm · [434]
Rora Head forms the northern bluff of Rackwick Bay on the Island of Hoy in Orkney.
Stiffkey Freshes
2004 · 19 x 32 cm · [2004/5]
2004 · 19 x 32 cm · [2004/8]
1999 · 45 x 61 cm · [460]
2005 · 19.5 x 32 cm · [2005/3]
In the culture of candlelight,
An inward scholarship -
Eyes, ears, mouth, nose, and fingertip
Poised close to the point of the flame.
And this is how I feel tonight
In a monastic solitude,
One who has known his life subdued
By the sensory, his name
Dipped in envanishments
And their collected moments
All left unedited,
Unsifted, in candlelight
Where the many dead
Prowl, and stars ignite,
Frost silvers shrubs and grass.
All will pass. All will pass.
I do not guarantee
My resignation to all of this.
There are the memories of kiss,
Remembrances of harmony.
These pass only from me.
There will be echoes.
I sense them from centuries ago.
There’s no such thing as close.
I don’t know much, but that I know.
Look at the towering night-sky.
Look at the waters, this firth
Powering birth and rebirth.
And seen from this small cell
Built for discomfort,
Penitence and prayer,
Islanded, seagirt,
infinite and celestial!
Anchorite
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A Line in the Water
Norman Ackroyd [CBE, R.A] : Douglas Dunn [OBE]
Royal Academy of Arts
2009
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Art Museum Bregenz | Peter Zumthor, 1990-1997
Sketch, plan
West façade with works by James Turrell on exhibit
Exterior wall
Entrance hall
Gallery space and staircase on south side
Downward view of the staircase
Gallery on upper floor
To me, there is something revealing about the work of Joseph Beuys and some of the artists of the Arte Povera group. What impresses me is the precise and sensuous ways they use materials. It seems anchored in an ancient, elemental knowledge about man’s use of materials, and at the same time to expose the very essence of these materials which is beyond all culturally conveyed meaning.
I try to use materials like this in my work. I believe that they can assume a poetic quality in the context of an architectural object, although only if the architect is able to generate a meaningful situation for them, since materials in themselves are not poetic. The sense that I try to instill into materials is beyond all rules of composition, and their tangibility, smell and acoustic qualities are merely elements of the language that we are obliged to use. Sense emerges when I succeed in bringing out the specific meanings of certain materials in my buildings, meanings which can only be perceived in just this way in just this building.
If we work towards this goal, we must constantly ask ourselves what the use of a particular material could mean in a specific architectural context. Good answers to these questions can throw new light onto both the way in which the material is generally used and its own inherent sensuous qualties.
If we succeed in this, materials in architecture can be made to shine and vibrate.
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a+u Extra Edition| Peter Zumthor
Nobuyuki Yoshida : Peter Zumthor
a+u Publishing co.
1998
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Lux et Nox | Bill Henson
Untitled #31, 1998
Untitled #32, 1998
Untitled #33, 1998
Untitled #59, 1998
Untitled #74, 1998
Untitled #75, 1998
Untitled #10, 1998/1999/2000
Untitled #21, 1998/1999/2000
Untitled #39, 2000/2003
Untitled #46, 2000/2003
Untitled #69, 2000/2003
Untitled #84, 2000/2003
Untitled #95, 2000/2003
Untitled #110, 2000/2003
Untitled #114, 2000/2003
Untitled #115, 2000/2003
Australian artist Bill Henson is a passionate and visionary explorer of twilight zones, of the ambiguous spaces that exist between day and night, nature and civilization, youth and adulthood, male and female. His photographs of landscapes at dusk, of the industrial no-man’s land that lies on the outskirts of our cities, and of androgynous girls and boys adrift in the nocturnal turmoil of adolescence are painterly tableaux that continue the tradition of romantic literature and painting in our post-industrial age. The rich chiaroscuro, the oscillating light, and the masterful composition of his photographs map enigmatic states that escape rationalism’s iron grip, providing a much-needed antidote to a culture that increasingly looses itself in a numbing vortex of blinking screens and glittering surfaces.
Were it not for Henson’s primary, almost devotional need to elicit empathy for his troubled human subjects, there’s a feeling that nothing would prevent the black in his photographs from completely absorbing his attention and extinguishing his work.
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Lux et Nox
Bill Henson : Dennis Cooper
Scalo
2002
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(Apologies for the dirtiness of the scanner.)
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