{"id":4513,"date":"2024-01-16T07:06:03","date_gmt":"2024-01-16T06:06:03","guid":{"rendered":"https:\/\/olivierfelixisselin.com\/?p=4513"},"modified":"2024-01-16T07:08:03","modified_gmt":"2024-01-16T06:08:03","slug":"ljus-vid-fotografiets-kalla","status":"publish","type":"post","link":"https:\/\/olivierfelixisselin.com\/index.php\/sv\/2024\/01\/16\/ljus-vid-fotografiets-kalla\/","title":{"rendered":"Ljus vid fotografiets k\u00e4lla."},"content":{"rendered":"\n

+ Ett nytt rum f\u00f6r samtida konst i hj\u00e4rtat av Dijon.<\/h2>\n\n\n\n
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Artiklar \u2013 av Lucie Vuillerme \u2013 Le Bien Public \u2013 Quartier Libre Weekly Supplement \u2013 Life of the Arts Section \u2013 4 till 10 mars 2005 \u2013 Utg\u00e5va nr 227, sid. 24.<\/p>\n\n\n\n

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Den nya utst\u00e4llningslokalen i Dijon presenterar de senaste verken av fotografen John Batho, med fokus p\u00e5 den intima essensen av ljuset han f\u00e5ngar.<\/h5>\n\n\n\n
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F\u00f6r sin invigning skapar galleriet Isselin uppst\u00e5ndelse genom att ta emot en konstn\u00e4r som \u00e4r internationellt erk\u00e4nd, omn\u00e4mnd i fotografiets historia och som \u00e4r bosatt i Dijon. John Batho undervisade faktiskt d\u00e4r p\u00e5 Konsth\u00f6gskolan i tio \u00e5r och arbetar fortfarande d\u00e4r en del av tiden.<\/p>\n\n\n\n

Verken som presenteras, ett femtontal tryck i storformat, \u00e4r inte de l\u00e4ttaste, men de avsl\u00f6jar en stor konstn\u00e4rs k\u00e4nslighet och precision. Men de f\u00e5r en viss betydelse inom en bana som har lett John Batho till gallerier \u00f6ver hela v\u00e4rlden.<\/p>\n<\/div>\n\n\n\n

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Olivier Feix Isselin arkiv.<\/p>\n<\/div>\n<\/div>\n\n\n\n

F\u00f6dd 1939, John Batho \u00e4r mest k\u00e4nd f\u00f6r sitt arbete med f\u00e4rg, d\u00e4r han sedan 1963 har \u00e4gnat sig \u00e5t att f\u00e5nga dess fulla intensitet genom fotografiska tekniker. Hans forskning gav honom Kodak Award for Photographic Criticism 1977. \u00c5r 2001 anordnade Nic\u00e9phore Ni\u00e9pce-museet i Chalon-sur-Sa\u00f4ne en retrospektiv av hans verk, och konstn\u00e4ren antar att den drivande fr\u00e5gan bakom det hela kvarst\u00e5r: Vad \u00e4r fotografi?<\/p>\n\n\n\n

Efter den f\u00e4rgglada festen \u00ab\u00a0Man\u00e8ges\u00a0\u00bb (karuseller) eller \u00ab\u00a0Parasols\u00a0\u00bb (parasoll), gick han tillbaka \u00ab\u00a0till k\u00e4llan\u00a0\u00bb. John Batho har i flera \u00e5r f\u00f6rs\u00f6kt f\u00e5nga de mest intima aspekterna av ljus. Genom serier fokuserade p\u00e5 enkla element f\u00e5ngar han dess subtila variationer, fascinerad av dess f\u00f6rm\u00e5ga att \u00ab\u00a0avsl\u00f6ja och d\u00f6lja p\u00e5 samma g\u00e5ng\u00a0\u00bb.<\/p>\n\n\n\n

Det intima utrymmet i Isselin-galleriet l\u00e4mpar sig f\u00f6r denna n\u00e4ra observation. Tre teman som \u00e4r k\u00e4ra f\u00f6r fotografen utforskas, vart och ett f\u00f6rnyat genom anv\u00e4ndning av unika material: altuglas och glasskivor.<\/p>\n\n\n\n

\u00ab\u00a0Papiers Lumi\u00e8re\u00a0\u00bb (ljusa papper) f\u00e5ngar inverkan av en ljusstr\u00e5le p\u00e5 ett pappersark, vilket f\u00f6rst\u00e4rker sensualiteten i dess struktur eller opaliserande klarhet. \u00ab\u00a0Ytorna\u00a0\u00bb har ett skickligt arrangemang som involverar stilla, skimrande vatten och en vertikal vit sk\u00e4rm. Det skapar en m\u00e4rklig konfrontation d\u00e4r ljus b\u00e5de absorberar och studsar mot ytorna.<\/p>\n\n\n\n

\u00ab\u00a0Bu\u00e9es\u00a0\u00bb (dimmorna) tillh\u00f6r en gammal fr\u00e5ga som har \u00e5terupplivats av den senaste uppt\u00e4ckten av ett genomskinligt material, som sedan fixeras under glas f\u00f6r att bevara bildens sk\u00e4rpa. Genom fotografiets precision f\u00f6rst\u00e4rks det k\u00e4nsliga spetsarbetet av ljusgenomtr\u00e4ngd vatten\u00e5nga. Tanken p\u00e5 att f\u00e5nga och bevara ett immigt f\u00f6nster gl\u00e4der John Batho och galleribes\u00f6karna. \u00ab\u00a0D\u00e4r \u00e4r jag mycket n\u00e4rmare mitt motiv\u00a0\u00bb, jublar fotografen och f\u00f6rr\u00e5der den kr\u00e4vande karakt\u00e4ren hos hans l\u00e5ngvariga, sj\u00e4lvbeskrivna \u00ab\u00a0musikaliska\u00a0\u00bb och \u00ab\u00a0introspektiva\u00a0\u00bb verk, som komponerar en vacker triptyk i denna utst\u00e4llning.<\/p>\n\n\n\n

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ETT NYTT utrymme f\u00f6r samtida konst i hj\u00e4rtat av Dijon.<\/h4>\n\n\n\n
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Genom att byta b\u00e5de namn och adress till sitt utrymme bryter Fran\u00e7oise och Olivier Isselin sig definitivt bort fr\u00e5n historien om Galerie Gaston-G\u00e9rard, en Dijon-institution som de tog \u00f6ver i slutet av 1999, som nu har \u00ab\u00a0virtualiserat\u00a0\u00bb sig sj\u00e4lv p\u00e5 internet. Mor och son har l\u00e4mnat den privata herrg\u00e5rden p\u00e5 Rue du Petit-Potet, med sina kalkbelagda v\u00e4ggar fr\u00e5n 1600-talet d\u00e4r de k\u00e4mpade f\u00f6r att h\u00e4nga en spik, f\u00f6r att bos\u00e4tta sig n\u00e4ra antikaff\u00e4rer och designm\u00f6belbutiker p\u00e5 Rue Auguste Comte.<\/p>\n\n\n\n

Konsthallen vetter mot gatan, som \u00e4r mycket livligare, bakom tv\u00e5 stora glasf\u00f6nster: Olivier Isselin insisterade p\u00e5 att ha direkt interaktion med allm\u00e4nheten, som ofta k\u00e4nner sig f\u00f6rvirrad av samtidskonsten. \u00ab\u00a0Det \u00e4r genom att upprepade g\u00e5nger g\u00e5 f\u00f6rbi och titta p\u00e5 konstverk som man kan f\u00f6rst\u00e5 dem och, vem vet, till och med k\u00e4nna sig tvungen att skaffa ett.\u00a0\u00bb Galleriet skiljer sig fr\u00e5n andra mindre tillg\u00e4ngliga platser i Dijon och syftar till att presentera f\u00f6rstklassiga samtida konstn\u00e4rer och delta i internationella utst\u00e4llningar. Detta bevisas av deras f\u00f6rsta utst\u00e4llning med John Batho, vars unika tryck senare kommer att bli en del av galleriets samling. Som Olivier Isselin stolt s\u00e4ger, \u00ab\u00a0De kommer inte att hittas i Paris, Gen\u00e8ve eller New York, utan i Dijon.\u00a0\u00bb<\/p>\n\n\n\n

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+ Ett nytt rum f\u00f6r samtida konst i hj\u00e4rtat av Dijon. 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