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NNM presents the best upcoming shows around the globe.
Please send the information regarding your future exhibition for revision and possible inclusion to:
Azzurra Utta: au@noname-magazine.com

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The Edge of Light by Eddie Soloway
YAM GALLERY – SAN MIGUEL DE ALLENDE – MEX

Eddie Soloway’s photographic work focuses on nature and wilderness. Where is nature? and how can a mechanical process like photography express nature’s life? Answering the first part of the question, there is no doubt that Soloway knows how to find his path into the wild: his pictures take us to the essence of elements, to the clearest rivers, deep in the forest, or on a cloudy desert beach. On the other hand, if one of the characteristic of the photographic process is the lack of motion, it does not mean lack of movement, as time’s print can be revealed by a sensitive artist like Soloway. Master of his technique, he knows the course of light and colours in order to express life: if you look carefully to Eddie’s landscape, you will see water dancing, clouds rolling, you may even see the grass growing! Eddie Soloway’s new photographic work, “The Edge of Light – Water” celebrates the moments at twilight in places where water and land come together. Low light, end of day colors, and movement come together in a beautiful and unpredictable dance. This first collection in a series will make its debut at Yam Gallery with an artist reception from 6-8pm on Wednesday, March 2nd.

Opening: Wednesday, 2nd March 2011, at 6pm.Ancha de San Antonio, nº20 int.1, Instituto Allende.

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Tra Luce & Silenzio-Teoria del Respiro…

A human body lying in the middle of an undefined space, essential. Live Video in a cognitive format HD video, audio, olfactory. Alberto Longo’s work is  a long series of timelines: images combined to form a flexible and modular body. A transformation into a narrative progression, in the circles of influence and perpetual motion, where the “delusional” illusion is real. A body-subject, psychological states are the subject of kinetic paintings, singular space-time fruition. The genesis of the visual field was monitoring the body during the dream phase, which lasted six days, exploring the dreams, acting as the first actor to become a “non-self ” experiencing dreams where you are away. For further information [ HERE ]

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Conditions by Andres Marroquin | GALERIA REVOLVER LIMA-PERÚ
Thursday Feb 17, 2011

Conditions…This is the promise of contemporary fine-art photography: It is not to dazzle us or to mindlessly entertain us or to present us that which we already know. It is to ask us questions, to give us the option to become a different person once having been exposed to it. Coincidentally, that is also the promise of Andrés Marroquín Winkelmann’s Conditions. The body of work was produced in Berlin, Germany and shows people and places in communal housing, part of the city’s subculture that is or at least was in part based on squatting. It shows people and places the photographer knows intimately, portraiture mixed with still lives. Squatting and contemporary photography have more in common than it might seem at first. I’m not talking about the often self-centered displays of attitude that both often confuse with a genuine message. I’m talking about their desire to challenge the world from a position of uncertainty: One has to carefully peel away the various layers of propaganda that have been put on both to see that a fine-art photographer, a good fine-art photographer is a squatter in this world, someone exploring a space after gaining entrance to it in ways that might or might be not following the rules. It was only logical that Conditions would result in a book that throws away the conventions of photobook making, in particular the idea of a sequence. Instead, it is an infinity of connections between images, to be made by the viewer and not by the makers of the book (full disclosure: I had the enormous privilege of being one of its makers). Meaning is not presented, meaning has to be found. Conditions requires an open mind. To know that Conditions has now been brought to a gallery wall is nothing but exciting. Of course, the wall will have the photographs unfold their grip on the viewer in different ways than the book. There has been talk of book photography and wall photography. I’m not sure such a distinction ultimately makes sense. There might be photography that only works in a book, and photography that only works on a wall – but wouldn’t one want to see photography that unfolds both on the wall and in a book euqally well? Andrés Marroquín Winkelmann’s Conditions offers that opportunity now.
Text by: Dr. Jörg M. Colberg

Thrusday Feb 17, 2011 | GALERIA REVOLVER LIMA-PERÚ

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INJECT @ Transmediale 2011 Start: 04.02.2011 21:00 End: 04.02.2011 22:30

Herman Kolgen comes back to Transmediale  2011, Berlin’s premiere festival for art and digital culture, with one of his most interesting work: INJECT. A human body is injected in a cistern. A modular performance in Video HD format and multichannel audio. With the aid of various digital video recording and photographic systems Herman Kolgen assembled many series of temporal sequences, images that he then  assembled into a flexible and modular body. It’s a matter of a narrative  progression, in perpetual circles of influence and movement, where the  real is in dislocation. Over the course of 45 minutes, the pressure of the liquid exerts upon him multiple neurosensorial  transformations. From his epidermal fiber to his nervous system, he  reacts to influxes of viscosity in this liquid chamber. His cortex, lacking oxygen, gradually loses all notions of the real. Like a human guinea pig: a matter-body whose psychological states are the object of  kinetic tableaux, of singular temporal spaces. The genesis of the principal visual material for this project was a shoot, in an immense cistern filled with water, which lasted six consecutive days. The performer had to be immersed for over eight hours a day in the glass tank, oscillating between weightlessness and lack of oxygen.

Start: 04.02.2011 21:00 End: 04.02.2011 22:30
text by: Azzurra Utta

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Two exhibitions at Yam Gallery
YAM GALLERY – SAN MIGUEL DE ALLENDE – MEX

Javier Areán “Mostly White” is the title of the second exhibition of Javier Areán at Yam Gallery; the entire downstairs room is dedicated to show new series of paintings and monotypes realised during the last year in the artist’s studio in Mexico City. Areán’s work is centred on human figure: nude silhouettes are evolving in a milky luminescence, which is meant to be interpreted as a psychological landscape, not a portrait. The body can either find solitude or the encounter with the others, in a fortuitous way, just as it happens in an anonymous city, or in dreams. Areán’s talent has been recognized by art collectors all around the world and by public collections as Instituto de Artes Gráficas de Oaxaca, Museo de la Estampa México DF, and Casa del Tiempo UAM México who purchased his works.
The same night Yam Gallery will also inaugurate a collective exhibition of works on papers of the current gallery’s artists: Adam Chamandy (exhibited in San Miguel for the first time), Franco Aceves Humana, Arturo Meade, Francisco Taka Fernández, Cristóbal Gajardo, Sarjo and Donny Johnson.

Opening: Saturday, 29th January 2011, at 7pm.Ancha de San Antonio, nº20 int.1, Instituto Allende.

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The War of the Pokemons: encáustic paintings by Juan Ordóñez
UMO GALLERY – SAN MIGUEL DE ALLENDE – MEX

Juan Ordóñez’s War of the Pokemons proposes a fantastical monstruosity.  With humor and tenderness, the characters of the War are hybrid caricatures of colorful, frightened, defensive animals, isloated among elements abstracted from nature or imagination, in a void yet full of tension.  Observation of technique, texture, traces, and color betrays perception of harmonious landscapes, turning them into backgrounds complicated by layers of naivety. The “Pokemon” reference points to the center of the popular image culture of the last decades.  Commonly known, Pokemon is a commercial franchise optimistically interpreted as contemporary archetype of evolution through effort and confrontation. Ordóñez creates imaginary representations of language referring to the popular.  He is inspired by philosophical and semiotic themes, creating contrivances and developing ideas from accident.  He says, “the substance of things centers around intelligent reflexion, sarcasm, silence, and the simplicity of infancy.”
The War presents recognizable simbols, offers uncodified signs, and beyond the artist’s intention, it is our task as spectators to take the required time to find their purpose and meaning.

On exhibit at Galería UMO, Jesus 20, Centro. Opening reception January 20, 6PM.

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