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F/I - Finalisti Concorso GD4Photoart, winner Óscar Monzón

Marc Roig Blesa, Raphaël Dallaporta, Madhuban Mitra & Manas Bhattacharya, Óscar Monzón

From: 3/10/2015 - To: 10/01/2016

MAST. Gallery - Via Speranza, 42 - Bologna

Phone +39 051 6474345

Date of last update: 11/01/2016, 09:29




MAST Gallery
3 October 2015 - 10 January 2016

Joan Fontcuberta for Óscar Monzón
Óscar Monzón came into the international limelight with his project Karma, in which he turned his gaze to automobile culture with the eyes of a paparazzo and an advertising agent. His works emphasized the spell cast by a form of technology that acted as an object of desire, a fetish, a symbol of power, and at the same time a container for identity and experience.
In Maya, Monzón continues to pursue his own visual sociology, once again exploring advertising and identity as artificial backdrops that distort our life experience. But in this case, Monzón shifts his critical references towards scenes typical of film and science fiction: that science fiction that dreams up dystopian worlds populated by lonely multitudes under the control of all-seeing eyes. Transient beings, almost like androids frozen in time, one by one, they heed the call of commercial enticements: advertisements are the loudspeakers of consumerism, which shapes attitudes and behaviours, and between the lines they spread the diseases of capitalist mythology: mercantilism, alienation and inhumanity.
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Lars Willumeit for Marc Roig Blesa
Since its early days, photography has been used not only in art and science but also enlisted in socio-political struggles in order to document circumstances and events.
This photography with a humanist slant often had the impetus of bringing social reform from above, by privileged actors such as the photographer Lewis Hine, rather than resistance and revolt from below.
However recent research into worker photography movements, an until recently hidden chapter in the history of photography, has demonstrated clearly for the early twentieth century that alternative subaltern photographic practices existed widely across Europe and beyond.
The theme of photography in relation to labour and visibility/invisibility and on how to find contemporary forms of visual activism in the post-Fordist era is at the centre of the artistic practice of Werker Magazine, an art collective consisting of Marc Roig Blesa and Rogier Delfos (with Werker referring to worker in Dutch).
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Francis Hodgson su Raphaël Dallaporta
Raphaël Dallaporta ha inizialmente attratto la mia attenzione con una serie di foto di mine antiuomo. Fotografate con disinvoltura come fossero prodotti commerciali, le immagini erano accompagnate da testi sobri che collocavano questi raccapriccianti strumenti all’interno dei confini del regno commerciale. Le mine erano economiche, efficaci e di tanti tipi diversi per soddisfare i bisogni dei clienti. Dallaporta aveva prodotto un nuovo tipo di accusa a catalogo e nel farlo aveva fissato le linee principali del suo percorso: trovare indizi in elementi piccoli o relativamente piccoli delle attività industriali specializzate e su larga scala che contraddistinguono la nostra epoca.
Lentamente Dallaporta ha ampliato il proprio raggio di azione. Ha rivolto il proprio sguardo verso l’archeologia, usando droni telecomandati che di solito vengono adoperati per la guerra. Ha mostrato alcuni dei tanti tipi di conoscenza impiegati nella costruzione delle ferrovie. Adesso, in un progetto che è cominciato come una commissione da parte del CNES, il Centro nazionale di studi spaziali francese, ha realizzato una serie di immagini su Symphony, il programma satellitare franco-tedesco.
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Devika Daulet-Singh for Madhuban Mitra and Manas Bhattacharya
Xerox machines arrived in India in early 1970s. For generations of students thereafter, the “photocopy” was a coveted piece of paper. In pre-digital India, it was an economical and more often than not, the only way to access reference books available in libraries. Running a Xerox machine was and still is a cottage industry across India. An amalgamation of two words; “photo” and “copy”, the ubiquitous photocopy left nothing in doubt about its intention. It almost always infringed on the intellectual rights of authors – scant attention, if any, was paid to the copyright notice inscribed inside books. College campuses were notorious consumers of photocopied books and class notes. The artist couple, Madhuban Mitra and Manas Bhattacharya belong to a generation for whom the photocopy was more than a reproduction of a piece of paper, it was access to knowledge at a very small price. Their previous interest in obsolescence, in particular of the camera making industry, is extended to the obsolete models of Xerox machines imported to India. Their photographs imagine a relationship between the photocopy and the photographic image on two levels. Both are produced from mechanical machines using light and both are reproductions.
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The exhibit  GD4Photoart Competition Finalists is for the section Young Photographers of FOTO/INDUSTRIA 2015, the second Biennial promoted and organized by the MAST Foundation with the artistic direction of François Hébel. Fourteen exhibitions with free admission, dedicated to industrial photography, enterprise and work, and housed in prestigious locations of Bologna historical centre and at MAST. The exhibits are curated by Urs Stahel.


Further information and updates on www.fotoindustria.it

  • From: 3/10/2015
  • To: 10/01/2016

Tuesday to Sunday 10am - 7pm. Closed on Monday and December 25.

Open on December 26, 2015 + January 1 and 6, 2016 from 10am to 7pm.

free admission to the exhibition

Foto/Industria White Night: on Saturday, October 31st special opening until  midnight