Nicolas Jasmin was born in 1967 in Toulouse, France. He studied painting at the Academy of Fine Arts in Vienna. After a long working study with Walter Obholzer and detours in the film / video and music sector, he returned to painting in 2011. source: https://www.belvedere21.at/en/nicolas_jasmin
"These natural phenomena hint at a world beyond the visible"
Yoshinori Muzutani - write up about her work
"She uses a method developed to obtain hyperrealist images in order to produce a series that vacillates between the oneiric and the pictorial. The relationship her photography maintains with nature goes beyond the established patterns. Her images seem to interpose distance between the viewer and nature through an overlay of somewhat blurry surfaces in which nature appears estranged. Yet, at the same time, her approach evinces a penchant for an impressionist aesthetics, with its sensitivity to the subtle colors. She achieves a double effect of proximity and distance that turns out to be really interesting.
This effect, which is both aesthetic and sensorial, is not new in Mizutani’s work. When one’s work tackles a technical issue, chance can be an ally. In the case of Mizutani, there is also a prior intention. Just as in her previous works we can discern a deliberate path that makes it possible to foresee the result.
Technology and sensibility
Mizutani’s previous projects directly inform the HDR_nature series. For example, we find the same interest in getting under the skin of things and the same interest in color. Her prior work also addresses the natural and the uncanny—themes are developed in HDR_nature. What is new here is the use of the HDR technique, and in particular introduction of movement into the shot.
The more recent series show an interest in the relationship between nature and the fantastic. A domesticated nature, such as that of parks or ponds, belongs, in Mizutani’s work, to the realm of the unconscious. Nature also appears to reveal to us something that cannot be seen with the naked eye.
Even the cover of the book HDR_nature creates an interesting visual effect with a sheer cloth binding that shimmers as it is being handled. It foreshadows the contents: a multiplication of images as if stacked one on top of the other. And just as in nature, where sunlight changes the appearance of things, the images seem to change depending on the time of day."
Source: Yoshinori Mizutani
Taiyo Onorato & Nico Krebs - write up at Bauhaus exhibition Düsseldorf
" 'The enemy of photography is the convention, the fixed rules, the how to do it. The rescue of photography takes place through experimentation.' Programmatically, this quotation by Laszlo Moholo-Nagy is prefixed in a catalogue on the wokrs of Taiyo Onorato (1979) and Nico Krebs (1979). The Swiss artist duo, who have been working together since 2003, is interested in the shifting of photo-technical boundaries, in a productive confusion of the perception of things and their representation. Onorato and Krebs act inventively, ironically and always with analogue means in their image findings. For their work group Color Spins, created in 2012, they have developed their own rotational apparatuses. The dynamic light sculptures, which are captured by colour photography, create a surprising illusionism. With a wink, the figurations recall the famous ensembles that Oskar Schlemmer developed more than a hundred years ago and later performed on the Bauhaus stage in Dessau.
The ephemeral light sculptures of the black-and-white series Ghost from 2012, on the other hand, step in front of the dreary backdrop of a piece of woodland. A disturbing surreality emanates from the appearances. The medium of photography still retains its magical character in the works of Onorato & Krebs. "
BAUHAUS AND PHOTOGRAPHY – ON NEW VISIONS IN CONTEMPORARY ART
NRW FORUM, DÜSSELDORF, 7.10.18 – 10.03.18
Semiconductor is UK artist duo Ruth Jarman and Joe Gerhardt. They make visually and intellectually engaging artworks which explore the material nature of our world and how we experience it through the lens of science and technology, questioning how these devices mediate our experiences.
Ian Nesbitt: The Art Of Moving Slowly
Since 2008, Ian Nesbitt has been building a body of collaborative cinematic works that take an extended sideways look at the philosophy and practice of slow movement. Travelling on foot, with a cart, on a canal, by horse and wagon, or by pedal powered car, he has made a series of films that invert the accepted societal trajectories of ‘faster’ and ‘more’ by demanding ‘slower’ and ‘less’. In doing so, his films not only focus on the experience of passing through but also make time and space for looking more deeply at notions of landscape, community and pilgrimage.
Thomas Albdorf's main interest in photography and sculpture - in particular, the intersection between both practices, their shifting perceptions, the contemporary status quo of the photographic image and the decontextualization caused by internet distribution. He conceives photography as the single act of releasing the shutter, but as a chain of object or subject staging to post-processing and the published image in various media. The basic photographer does not officiate as an enclosed image rather than a space of possibilities and probabilities, primarily enabled via digital post-production processes that often leave their visible marks in the final work, revealing their source as well as bringing their conditions of production up for discussion.
Thomas Albdorf was born in Linz, Upper Austria in 1982. He studied Transmedia Art at the University of Applied Arts, Vienna, where he graduated in 2013. He was selected as one of 30 international "Artists to Watch" by British Journal of Photography in 2014; he won the UNSEEN Amsterdam Talent Award in 2016. His work has been featured in magazines and blogs like FOAM Magazine, British Journal of Photography, IT's Nice That, Phaidon UK, Computer Arts Magazine and many more. He currently lives and works in Vienna, Austria.
Gabey Tjon a Tham
Gabey Tjon a Tham is an installation artist working and living in the Hague, The Netherlands.
Gabey transforms spaces into sensory and immersive environments through kinetic machines, light, and sound. She observes underlying structures that occur both in nature and our digital systems. She finds a common ground between the two as she considers them to be intertwined in a continuous and changing cycle.
Technology is a natural occurrence for Tjon a Tham: “While what we have traditionally called nature is increasingly being influenced by human action, our technological environment is becoming increasingly complex and untameable, we almost have to relate to it as a new nature.
In her works the technology has a logic on its own, it conflicts and harmonizes. The artist develops techniques and invents mechanical sculptures that embed different materials and perform at different poetic levels. Hereby natural-mechanical choreographies arise. The works invite us to wonder at, contemplate, and investigate.