Spotlight Series: Joachim Schulz

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I BELIEVE THAT HER HEART BELONGS TO ROTHKO."                                    - Joachim Schulz - 

Joachim Schulz’s series Her Heart Belongs to Rothko arose from the experimentation with the artist's Polaroid Colorpack 80, which preferred the abstract shapes and colors akin to a Rothko painting over the representation of our seen reality. Over the course of half a year, Schulz found that his polaroid camera — a small, plastic camera that has been in his family since he was a child — began to gradually manipulate the film inside of it, scratching away the emulsion with each new attempt to take a photograph until, as Schulz observed, “step by step, the camera refused to write exact copies of reality.” Excited with the camera’s own interpretations, Schulz continued producing works with the polaroid, allowing each new abstraction to emerge from the body of the camera. 

Her Heart Belongs to Rothko, Tripticon 1, Polaroid, Polaroid Back, and Polaroid Transfer,  1997

Her Heart Belongs to Rothko, Tripticon 1, Polaroid, Polaroid Back, and Polaroid Transfer, 1997

The interplay between painting and photography runs deeply through each work as the chemical process takes over and the images strongly reference Rothko. As the camera processes the film in its own unusual ways, the series focuses more upon the final picture and its abstract beauty rather than notion of producing a typical, representational photograph. Transferring the polaroids to hand-made paper, Schulz further blurs and broadens the definition of the photographic genre.

Even when the lens was shut, the squared layers of blues, yellows, reds and greens emerged from the darkness of the Polaroid’s body, producing abstract configurations in the same nebulous impression of a Rothko. 

PHOTOGRAPHIC: The Life of Graciela Iturbide

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Friday, 8 September, on view until 21 October, 2017

ROSEGALLERY presents Photographic: The Life of Graciela Iturbide, the forthcoming graphic novel about Graciela Iturbide, published by The Getty Publications in Fall of 2017. Pages from the graphic novel will be exhibited as a narrative along the gallery walls, interlaced with pages from the graphic novel, photographic prints by Graciela Iturbide and original illustrations by Zeke Peña.
The exhibition will be open to the public during our normal business hours of 10 am to 6 pm on Friday, 8 September.

Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, . Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.

Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.

Graciela Iturbide at The Ruth Chandler Williamson Gallery

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Graciela Iturbide will be on view at the Ruth Chandler Williamson Gallery from August 26th, 2017 until January 7th, 2018 as part of the exhibition Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero, in conjunction with Pacific Standard Time: LA/LA. 

War, indigenous cultures and inner transformation ferment in Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero. In this exhibition, the Williamson focuses on the works of three Mexican women photographers who explore and transform notions of Mexican identity in images that range from the documentary to the poetic.

Garciela Iturbide,  Untitled (Bull Walking through Birds) , Jaipur, India

Garciela Iturbide, Untitled (Bull Walking through Birds), Jaipur, India

For more information, please visit ArtFixDaily 

Spotlight Series: Misha de Ridder

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In the morning mist, light shines through the water particles, dispersing the spectrum of light throughout the atmosphere. Within this strange, ubiquitous light, Misha de Ridder sets up his 4 x 5 camera atop a cliff in Normandy in the town of Ault, looking down upon a vast seascape where a harbor and parts of Ault once flourished in the sixteen hundreds before a storm washed them away. The cliffs that de Ridder both photographs and stands upon are in constant collapse, losing about a meter each year to the sea, whose tides rise and fall, slowly consuming the cliffside. De Ridder ventures into this environment, setting up his large format camera on the top and at the base of the cliff, photographing in the short four hours before the Atlantic rises and covers the tide pools beneath him. 

Ault III, 2016

Ault III, 2016

Within this seascape, the feeling of interconnectedness with the enormity of one’s natural surroundings arises in the depth and enigma of the image. The chalk of the cliff face leaves a whiteness on the surface of the water, which echoes the horizon beyond. The experience of looking into de Ridder’s seascapes and cliff faces involves the perception only acquired through intimate and lengthened looking, the kind of perception that de Ridder describes as “the cutting edge where you and reality meet.”

Caught on one of de Ridder’s last slides of Kodak’s E100G film, which was discontinued in 2012, the film captures the colors in “the camera’s own reality,” as de Ridder describes it. The present photographs are direct translations of the slide with no intermediary changes, so that the photographs of these spaces directly capture the colors of reality. Although the colors reflect reality, de Ridder hopes to capture the essence of a space, which in this moment meant waiting an hour for the seagulls to fly away and out of the composition of Ault III

Falaise III, 2016

Falaise III, 2016

Misha de Ridder’s work engages with the experience of beauty through the enormity yet soft vulnerability of the waves and chalky cliffside. Expressed in this ubiquitous light and mediated through the water and air, the eyes and mind drift further and further into the image, visually engaging with the continually transforming environment where the cliffside and sea meet in Ault. 

Misha de Ridder’s Ault III, currently on display in REFERENCE, is the first work to be featured in ROSEGALLERY’s Spotlight Series.  

Fundación MAPFRE, home of the largest collection of Graciela Iturbide works

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Launched nine years ago, Fundación MAPFRE’s photography collection is still in its early days. The remarkable series of photographs by Graciela Iturbide, however, not only constitutes one of the main features of this collection, it also aptly illustrates its ambition: to strive to fully represent artists included in the collection in order to get to know and understand their work as fully as possible.

"Famous for her vision of indigenous Mexican cultures, which marked her entrance into the world of photography, Graciela Iturbide considers her work as an ongoing process of vital exploration, since photographing is above all a pretext for expanding knowledge. Her journeys are an integral part of her research on identity; however, the power of her images does not depend on the exoticism of her world travel, but rather emanates from her exceptional ability to foreground aspects often absent from photographic representation, and which she manages to capture through a simple working method: by integrating into, and cohabiting with, the people she photographs."

Read the full write-up on
For more images by Graciela Iturbide, visit her ARTIST PAGE.

Jo Ann Callis on view in exhibition Dreamers Awake at White Cube Gallery

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Jo Ann Callis will be on view at White Cube Gallery in the group show "Dreamers Awake", a major exhibition exploring the enduring influence of Surrealism from the 1930s to the present day.  Curated by Susanna Greeves

Jo Ann Callis, Untitled, from Early Color Portfolio Circa 1976

Jo Ann Callis, Untitled, from Early Color Portfolio Circa 1976

"This thematic exhibition brings together over 100 works by women artists to explore sexual politics, eroticism, mysticism and identity. Rarely seen paintings by key figures associated with the original Surrealist movement, such as Eileen Agar and Leonora Carrington, are shown alongside modern and contemporary artists including Louise Bourgeois & Tracey Emin, Claude Cahun, Mona Hatoum, Linder, Laurie Simmons, Gillian Wearing, Hannah Wilke and many more."


Dirk Braeckman - Belgian Representative at 57th Venice Biennale

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Dirk Braeckman is this year's Belgian Representative at the 57th Venice Biennale.  Together with curator Eva Wittocx, Braeckman's exhibition presents a full oeuvre of work, including new and unique photographs.

AnOther Magazine
Dirk Braeckman’s Bewitching Display for Venice Biennale

“The spectacle will be in the picture”: the photographer shares the beautiful and haunting photographs that will fill the Belgian pavilion from this weekend

from the series 27.1 / 21.7 / 010 – 014 / 2014© Dirk Braeckman / Courtesy of Zeno X Gallery, Antwerp

from the series 27.1 / 21.7 / 010 – 014 / 2014© Dirk Braeckman / Courtesy of Zeno X Gallery, Antwerp

It’s easy to lose yourself in the act of looking when you’re in front of an image by Dirk Braeckman. There’s an energy reverberating in the darkness of his photographs that draws you into another dimension – where the eyes simultaneously linger over the surface of the image and orbit around the emerging contours of objects, scenes and bodies that seem to possess lives of their own. For a moment, the allure of these mysterious details offers a much-needed mental detour from the stories we tell ourselves.

Braeckman is representing Belgium at the 57th Venice Biennale with a new series of monumental photographic prints, all of them black and white and on baryta paper. Born in Eeklo, Belgium, the Ghent-based photographer shoots only analogue, and always showcases his images unglazed and uncovered. Without any physical interference, the eye can directly wander along the ridges, fissures and fragments of enigmatic forms, diverting attention from any particular narrative. After all, Braeckman is not interested in crafting narratives, abiding to a specific theme nor capturing reality in his work, the artist is adamant on creating an atmosphere. “I’m not a storyteller, I’m an imagemaker,” he tells AnOther. “The story is made in the mind of the viewer.”

Read on at

Eva Wittocx on Dirk Braeckman’s show for the Belgian Pavilion at this year’s Venice Biennial

"Unlike most photographers, where the centre of the image contains the most important information, Dirk constructs the images from the edges of the composition inwards."

Curator for Dirk Braeckman's exhibition at the 57th Venice Biennale Eva Wittocx spoke to Sophie Verhulst about the upcoming extravaganza.

"Eva Wittocx, senior curator at Museum M in Leuven and curator of the show, looks delighted. “The show is turning out great, everything is coming together. We’ve got a few loose ends to tie up but overall, we’re ready.”, she explains. The building of the Belgian pavilion in Venice has been renovated over the winter, new skylights were installed and the rooms received a fresh coat of paint. “We don’t have a specific scenography, so the building needed to be in perfect shape for the focus to be on the work. It’s part of Dirk’s practice to create every exhibition anew, within the environment.”, Eva continues, while mentioning that they sent over quite a large shipment to Venice, one that included more works than they could show. “That way, we were able to explore several options and had the freedom to see what worked in the space and which combinations of works we would eventually show.” Working with neither themes nor series, Eva points out that this exactly why Braeckman’s old and new work seamlessly fit together, that the magic of the show is all in the combinations of autonomous works."

Read on

Sebastian Riemer on view at Museum Folkwang

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Sebastian Riemer, Bogomir Ecker and Thomas Ruff are in the group show 6 1/2 Weeks: Ecker Riemer Ruff: Retouched" at the Museum Folkwang in Germany. The work will be on view from April 20 – June 5, 2017.

Sebastian Riemer,   Speed Skater (Leow) , 2017

Sebastian Riemer, Speed Skater (Leow), 2017

"The second installment in the new 6 ½ Weeks exhibition series brings together works by Bogomir Ecker, Sebastian Riemer and Thomas Ruff, pieces that share clear common ground. For they all feature press photos from dissolved newspaper archives. These form the starting point for their very different reflections on the photographed picture."

Read more about the exhibition HERE.