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ANNIBEL CUNOLDI ATTEMS: Porto Vecchio

 
 
 

Annibel Cunoldi Attems: Porto Vecchio, 2002/2011

6. junij – 31. julij 2012

Cankarjev dom Ljubljana

Osrednji del fotografske instalacije Porto Vecchio sta veliki fotografski podobi ene od pristaniških stavb v Trstu, ki je danes ni več na tem mestu. Annibel Cunoldi Attems jo je fotografirala leta 2002. Fotografija je bila leta 2011 v pozitivu in negativu razvita na pleksi steklo. Negativu so dodane besede tržaškega pisatelja Claudia Magrisa, kar nas opozarja na avtoričino občutljivost za kraje, ki omogočajo sobivanje preteklosti in prihodnosti ter mešanje in križanje različnih kultur. Transparentne fotografske podobe po zaslugi od zidu nekoliko odmaknjene postavitve ustvarjajo igro svetlobnih odsevov in zarisov senc na površino zidu.

V Gorici rojena Annibel Cunoldi Attems od leta 1990 deluje kot svobodna umetnica v Berlinu, kjer je doktorirala iz nemškega jezika in literature. Umetnost je študirala v Parizu. V sedemdesetih letih in na začetku osemdesetih let se je posvečala predvsem grafiki in slikarstvu. Nato je v črkah oziroma besedah prepoznala temeljne elemente konceptualno zasnovanih instalacij, ki nastajajo v tesni navezavi na historične ambiente in stavbe. Kombinacije besed oziroma besedne konstrukcije, ki prinašajo pomene in simbolne reference, njihova razporeditev in namestitev, »lingvinistična« mreža oziroma omrežje besed v različnih jezikih z medsebojnim križanjem ustvarjajo različne asociacije in interpretativne možnosti.

Intenzivna gradbena vnema in kontrast med novo berlinsko arhitekturo ter historičnimi ambienti Rima in Gorice sta izostrila umetničino pozornost za arhitekturne spomenike kot priče časa; pritegnile so jo stavbe, ki v sebi še vedno hranijo spomin na preteklost. Konceptualni projekti in instalacije Annibel Cunoldi Attems se od sredine devetdesetih let preteklega stoletja navezujejo na govorico arhitekture, na kraje in prostore, ki so zaznamovani s težko zgodovino, pri čemer skozi vedno pogostejšo rabo fotografije povezuje umetnost, kolektivne ali posamične spomine in zgodovine.

(Damir Globočnik)

www.cd-cc.si

Annibel Cunoldi Attems: Porto Vecchio, 2002/2011

6 June – 31 July 2012

Cankarjev dom Ljubljana

Central to the Porto Vecchio photographic installation are large photographic images of one of the now demolished port facilities in Trieste.
Annibel Cunoldi Attems took the picture in 2002 and in 2011, the photograph was printed in both positive and negative forms on plexiglass. The negative image bears words by the Trieste writer Claudio Magris, testifying to the artist’s sensitivity to places, to her allowing for the coexistence of both the past and the future as well as a cross mixing of cultures. Because these photographs are hung away from the walls, the transparent images create a play of light, with reflections and traces of shadows upon the wall’s surface.

Born in Gorizia, Italy, Annibel Cunoldi Attems has been a freelance artist in Berlin since 1990, where she took a Ph.D. in German language and literature. She studied art in Paris. Prior to that, in the seventies and early eighties, she dedicated her artistic efforts mainly to graphic art and painting.
She identifies, using letters and words, the principal elements of conceptually designed installations created in close relation to historical sites and buildings. The combination of words or word-constructions, provide meanings and symbolic references through their distribution and positioning and through the “linguistic” network of words in various languages that help create different associations and possible interpretations.

The intense constructional energy and the contrast between new Berlin architecture and the historical sites of Rome and Gorizia, sharpened the artist’s attention towards architectural monuments as witnesses of time; she was drawn to buildings that still retain memories of the past. Since the mid-1990s, Annibel Cunoldi Attems’ conceptual projects and installations have been related to the language of architecture, to the places and spaces characterised by troubled history, and so through her ever more frequent use of photography, she relates art to collective or individual memories and histories.

(Damir Globočnik)

www.cd-cc.si