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g a macura presents
an exhibition of photography and video
at Norwood
on view
September 13, 2018
August 30, 2019

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About the show

Photography as a medium embodies contrasts through capturing light and shadow. This exhibition seeks to consider the apparent contradictions of contemporary life, and the ability of art to make space for complexity [and tell stories]. g a macura inc. presents the work of XXX artists who focus our attention on intimate and surreal moments of intensity, sometimes absurd or banal, rooted in personal histories, and inflected by technology's reshaping of society.


Represented in the show are many approaches to photography, from [classic street photography] to sculptural still life and collage, to the diaristic [poetry], to [video]. Artists in the show play with photography's "truth telling" ability in an age when we are all so deeply embedded in the visual field of giving and receiving looks, which can also be psychic exchanges of power and intimacy.


The images on view are the result of artists working to build something new, to construct an architecture from which to comment on the built world, in ways inextricably linked with personal histories. From the legacy of “decisive moment” street photography of Rene Burri, artists working today complicate this approach to documenting their surroundings. Matthew Connors aggregates figures and shadows shot in the same place hours or sometimes years apart, effectively extending “the moment” to encompass multitudes. Teju Cole presents quiet moments from his travels made strange by poetic captions that act not as explanatory but as deeper repositories of mystery. [A video work by Viola plays with the idea of a "natural expression," which is highly staged.] Some of the other artists look more specifically at how imagery and furthermore identity is staged using visual tools: from Sharon's shots of exuberant 1980’s New York nightlife, to Theodore's chopped and reorganized portraiture, to Gupta and Mohammed's exploration of naming [and the hidden pain and violence of forced categories of representation or the liberation of creating anew], to Brinkmann's riffing on historical portraiture and a highly constructed image that incorporates everyday/banal items... Laing [a physical manipulation of the landscape in the age of photoshop (notably an architectural construction in an indigenous Australian area)]. [Umbrico with the Grand Central work- breaking down the idea of the iconic shot through collective imaging practices... ]


Farah Al Qasimi

Phone Call, 2017

Archival inkjet print 26 x 20 in.

Courtesy of the artist and Helena Anrather Gallery


Gail Albert-Halaban

Pajamas, Venice, Italy, 2017

Courtesy of the artist


Thorsten Brinkmann




Courtesy of the artist and Pablo's Birthday Gallery


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Rene Burri

Men on a Rooftop, Sao Paolo, 1960

Silver gelatin print

Courtesy of Magnum 



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Teju Cole

Rivaz, October 2014

Courtesy of the artist and Steven Kasher Gallery


Matthew Connors

New York, 2004

Courtesy of the artist



Shilpa Gupta



Rosemary Laing

Aristide, 2010

Courtesy of Lelong



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Ana Mendieta

Courtesy of Galerie Lelong

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Azikiwe Mohammed

Cecil Robinson

Courtesy of the artist




Sharon Smith

Courtesy of the artist




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Shawn Theodore

All I Ever Wanted Was A Reason To Be, 2018

Courtesy of the artist and Steven Kasher Gallery




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Hiraki Sawa



Bill Viola