“DEATH OF A CAMERAMAN”: EHIBITION OPENS IN NEW YORK EXPLORING THE POWER OF IMAGES… ARE CAMERAS WEAPONS?

Death of a Cameraman

organized by Martin Waldmeier

apexart

291 Church Street

New York

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Opening reception:

Thursday, September 12: 6-8 pm

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On view:

September 13 – October 26, 2013

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Featuring work by:

Adam Broomberg & Oliver Chanarin, Harun Farocki, Rabih Mroué

Hrair Sarkissian, Rudolf Steiner. An Unsolicited Proposal Program winning exhibition.

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On July 1, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman’s death, image and reality collapse into one.

In the course of recent political events, anonymous cameramen and women have emerged as powerful new figures in the politics of representation and mediation, documenting conditions that surround them while simultaneously carrying the biggest stakes in the telling of th eir story. They create images that do not necessarily show violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses.

Death of a Cameraman revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon. The exhibition explores the power of images to influence reality and alter the course of events. Are cameras weapons? Can they penetrate reality? What’s at stake in the making of images? What does it mean to bear witness through them?

Martin Waldmeier is a curator from Basel, Switzerland, and currently a Ph.D. candidate in Visual Culture at Goldsmiths, University of London, writing a dissertation on translation as an artistic practice. Waldmeier was a Fulbright fellow in Visual and Critical Studies at the School of the Art Institute, Chicago, and received an MA in Modern and Contemporary Art History from the University of Bern. His current research interests include aesthetics of migration, images and narrations of conflict, cultural translations, and the politics of language in the present-day cultural industry.

apexart’s exhibitions and public programs are supported in part by the Affirmation Arts Fund, Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts. This exhibition is also supported in part by the Stanley Thomas Johnson Foundation; the Swiss Arts Council Pro Helvetia; Kalfayan Galleries, Athens-Thessaloniki; and Video Data Bank.

www.apexart.org

291 church street

New york, ny 10013

t. 212.431.5270

NEW YORK CITY: LAST WEEK FOR “LAUGHTER”, A CONTAGIOUS, PARADOXICAL, DESTABILIZING AND CORPORAL LANGUAGE…

Last week for “Laughter”, on view in New York City  through July 27 organized by Kari Cwynar. The exhibition is featuring works by Christian Boltanski, Jacqueline Hoang Nguyen, Yoshua Okón, Stuart Ringholt, Althea Thauberger.

                              

In January 1962, an unexplained laughter epidemic began in the town of Kashasha in Tanganyika (now Tanzania) in Central Africa, spanning six months, spreading through the region, and affecting hundreds. The epidemic began with three schoolgirls in a classroom, possibly the result of a joke, and quickly spiraled out of control. The year 1962 marked Tanganyika’s independence, and citizens were facing significant change. In this context, the epidemic appears to have been an outbreak of mass hysteria – a Mass Psychogenic Illness, a blanket term for the spread of symptoms of illness among a cohesive group in which the cause is psychological rather than organic. The story prompts consideration of the nature of the laughter, this ubiquitous and seemingly banal action.

http://www.apexart.org/exhibitions/cwynar.php presents, with the works of five artists, laughing as an ambiguous and involuntary mode of communication: a contagious, paradoxical, destabilizing, and corporal language. It is considered here apart from the joke and instead as an action or object itself; a passionate response with the ability to unsettle (ourselves, others, social order).                        

ABOUT THE CURATOR     

Kari Cwynar (1985) is a Canadian curator and writer currently based in Amsterdam. With a background in Art History and an interest in language, Cwynar has written about art for numerous magazines and exhibition catalogues, and has held curatorial positions at The Banff Centre and the National Gallery of Canada. She is a participant in the 2012-2013 de Appel Curatorial Programme, and recently co-curated the group exhibition Bourgeois Leftovers at deAppel arts centre, Amsterdam.

APEXART

291 Church St.

New York City

http://www.apexart.org