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9 - 12 September 2021
Jessica Backhaus
Vientecito, 2017
Archival Pigment Prints, 40 x 60 cm

Jessica Backhaus

Jessica Backhaus (Cuxhaven, Germany, 1970) presents Far Away but Close a set of everyday images immersed in a delicate and poetic view. These photographs are deep emotional studies involving the artist personal experience. Often driven by the imperfections of the objects, she exposes their beauty and intensity through color and expression. Her work has been shown in numerous exhibitions, incl.National Portrait Gallery, London, and the Martin-Gropius-Bau, Berlin. She has ten publications to her name, almost all published by Kehrer Verlag, Berlin. Her photographs are in many prominent art collections including Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Museum of Fine Arts,Houston, USA and the Margulies Collection, Miami, USA.

“As writers, we admire the art of photographers - so close to reality and at the same time enigmatically personal. We are amazed by its dance, interwoven in the movement of ebbing lights and shadows; its suggestive presence hitting us in a single gush: that touch of revelation, atmosphere and color that merge us affectively with the image. Not unlike the photo, we succumb to the poem, with its brief and paused breaths. Through half-closed eyelids we are witness to the plenitude of the moment, which invites us to simultaneously see and feel the familiar contours that are engraved in our daily lives. Presence, image, and suggestion: art’s sacred trinity is embodied with such generous concentration in these images by Jessica Backhaus, who we as Chileans should thank for making so exquisitely visible, what we are too distracted to notice. The power of the color that portrays and crowns the subject, provokes the sensation that we are seeing something we see every day but haven’t actually seen before. Jessica has the natural ability to make relevant the most minimal. She has the talent to give it a touch of transcendence to the ephemeral, sensing the exact light needed to create its charm. Her photographs combine the simplicity of the motive with a sophisticated eye that makes them fresh, even inaugural. “ ANTÓNIO SKÁRMETA

Marguerite Bornhauser

Marguerite Bornhauser (Paris, France,1989) elaborates a visual writing form filled by intense colors, graphic forms and deep shadows that narrow the difference between the real and the fictional.
Her work has been shown at Maison Européenne de la Photographie Paris,Paris Photo in 2019, in the streets ofCincinnati, in Arles during the festival of Photography, in Deauville during theFestival Planche(s) Contact and at MAP inToulouse, among others. Her first book,”Plastic Colors”, was selected among the10 finalists of Mack First Book Award2015. She received the Nikon x PhotoLondon Emerging Photographer of theYear Award in 2020 and is making her debut at Photo London showing her work at the Carlos Carvalho and the Nikon stand.

Marguerite Bornhauser’s work is borrowed from numerous literary references. While Bornhauser’s photographs are explorations of the formal aspects of photography, stories are at the basis of her series. Moisson Rouge takes its name from Red Harvest, the 1929 crime story by Dashiell Hammett (1894-1961, United States) and one of the founders of the American black novel. It is a clear example of how contemporary artists, unbounded by conventions in photography, associate freely and create new visual and conceptual possibilities. The images conjure a world of summer skies, languid figures and dappled light, suddenly interrupted by clues to ‘something’ that might have happened. The series is comprised of about twenty works, including a series of diptychs in cibachrome prints. For the occasion, the artist is collaborating with Cadre en Seine - Choi, one of the last laboratories holding paper and cibachrome chemistry in Europe.The brilliance made possible by this process attracts Marguerite Bornhauser who has a keen interest in color and material. The artist also works around the ambiguity between the still image and the animated image, and a video playing on this duality is presented within this series of works.
Echoing the two main exhibitions of the season, the scenography of “Red Harvest” gives the photographs a mysterious aspect, in resonance with the intriguing world of film noir. Marguerite Bornhauser thus confronts, in the form of diptychs, previously produced images: it gives them a new meaning, like an appeal to visitors to form their own scenario. MANON DEMURGER

Daniel Blaufuks

Daniel Blaufuks (Lisbon, Portugal, 1963) has a predilection for issues such as the connection between time and space and the intersection between private and public memory. This work presented in Photo London looks like being a result of a profoundly contemplative process. The ethereal and almost abstract image of a flower makes this work an intimate narrative of a moment suspended in time.
The artist has exhibited widely in group and solo shows throughout Portugal and internationally in Spain, France, UK, Germany, Italy, Switzerland, Mexico, USA and Brazil. Blaufuks’ work is held in many public collections, including those of the Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio. Among other awards, he was nominated for the Deutsche Börse Photography Prize (2007, 2015), shortlisted for the Pilar Citoler Award, 2007 and the European Photography Award, 1996. In 1990 he won the Kodak National Award, in 2007 the BES Photo Award, and in 2016 Daniel Blaufuks the AICA - International Association of Art Critics Award for Visual Arts.

Daniel Blaufuks
Unbearable Heat (Vientiane), 2021
C-print, 120 x 160 cm
Daniel Blaufuks
nenúfar I (water lily I), 2021
C-print, 106 x 160 cm
Noé Sendas
Desconocida a.k.a Unknown (Plate), 2012
Inkjet print on Premium Luster photo paper, glass, filmoplast T, 31x41 cm. Ed. 2

Noé Sendas

Noé Sendas (Brussels, Belgium, 1972)lives and works in Berlin, Madrid and Lisboa. Sendas began presenting his work in the late Nineties. Explicit and implicit references to artists and literary, cinematic or musical creations are part of his raw materials. Specific concerns about the reflection and practise of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer’s perception mechanisms; or the discursive potential of exhibition methods.

There is a refreshing sort of emptiness when looking at the photographic works of Noé Sendas. In a time where the processes of self-defining and asserting identity have acquired great popularity, Sendas subverts this current by showing us human figures whose definition is anything but concrete. Making use of existing material and digital manipulation, the artist creates deconstructions that question both the meaning of photography as well as the prevailing notions of time, identity and authorship. The images make us travel through unknown paths, searching for what’s hidden behind the missing faces. What looks familiar at first, quickly becomes absurd and intriguing.

Noé Sendas: The missing identity
Mar 04, 2014 - Cesar Martins

Manuel Vilariño

All Manuel Vilariño’s (A Coruña, Spain,1952) work is developed in relation between poetry and photography. The artist connects with the outside world using photography as a meditation process. He’s the winner of theSpanish National Photography Award 2007.Since 1981, his work has been displayed in major art galleries and museums around the world and can be seen in collections such as Museo Nacional Centro de Arte Reina Sofia or Fundación Coca-cola España.

“I hail from the distant shores of the Atlantic, a land of mountains and mysterious seas. My photography and my poetry, “two wings of the same bird”, stem from a dialogue with nature, mythology and sea deities. And my studio is, indeed, a forest clearing. Those time-gnawed settings of auroral light are the birthplace of my spiritual identity and my steppe nostalgia. Some animal listens. Some animal warns.”

Manuel Vilariño
The Tempest #1, 2017
Hahnemühle on aluminium 120 x 120 cm