Tarrah Krajnak – RePose

In Re-Pose, the artist Tarrah Krajnak returns to a body of work she began some twenty years ago, drawing from an archive of “women’s poses” she has collected from sources ranging from magazines to museums, spanning centuries and continents. But if her title for this series suggests rest and relaxation, the deadpan restaging and rephotographing of these conventions in live performance generates an opposite effect: Krajnak’s repositions estrange and query, rather than reinforce, the ways we link women’s feelings to body forms.
RePose is a studio-based performance that took place at CalArts REDCAT in Los Angeles in May 2022. The performance includes an onsite darkroom, lighting studio as stage, and zerox installation of archival material. The Artist works in the gallery and produces all work on site. The performance is meant to be re-staged and ongoing.

Sanne Peper — Slowtime Alabama & The Beautiful Sadness

The project is about The Deep South, a highly complex and interesting part of the US. The project has culminated in an English publication: Slowtime, Alabama & The Beautiful Sadness, a fairytale-like photo/text book about good and evil, the human condition, an alt-right chipmunk who goes by the name of Jeremiah Day, and ultimately about the fear of the other. Half of the book consists of photographs, but I’ve also been writing about things I experienced and the tales people told me. Of this I fabricated a very long short story in which fiction and non-fiction intertwine. Because, although I am a photographer, I need language to tell something about the very thing that’s impossible to photograph, the magic of the place and its residents.

Hans Wilschut — Beirut, Epi-Centre Ville

The book recalls the aftershock of the explosion that hit Beirut in 2020. This blast gradually disappeared from the news, but felt extremely close to me. With this book I try to make tangible the paralysis that remained in the city. The disaster killed 218 people and injured thousands. The devastation was enormous and many houses around the harbor were destroyed. Lebanon’s government subsequently fell, making the country politically unstable. The ensuing economic and administrative crisis is still ongoing. With an essay by Dominique Eddé.

Ed Panar — Winter Nights, Walking

In the winter months, our planet slowly drifts towards the furthest reaches of its orbital path around the Sun who exerts just enough gravitational force to coax Earth back around one more time, lest we’re launched outward into the Solar System, starless and adrift. A steady shower of millions of individually designed crystal sculpted snowflakes create a soft temporary encasement enclosing trees, poles, wires, streets, hills and houses inside pillowed layers below. During some of those nights there is a heightened sense of stillness and quiet all around, as if the world itself was placed on mute.
The title “Winter Nights, Walking” is a reference to a celebrated photography project by the American artist Robert Adams entitled “Summer Nights, Walking”, which was made in the the city of Denver in the American West. While the project could be seen as a nod to Adams, Panar’s intention for “Winter Nights, Walking” is to make a Pittsburgh-specific project that highlights the unique qualities of the recent winter seasons in this region, with an eye towards the changing climate and the recent dark winters of the Covid-19 pandemic. Through the motif of wandering the city alone at night, Panar invites viewers to walk with me and consider the familiar space of the city in its uncanny delight.

Michael Ashkin — There will be two of you

There will be two of you reorganizes and adds to the original 133 panoramic images of the New Jersey Meadowlands commissioned by Okwui Enwezor for Documenta 11 in 2002. The black and white photographs were installed at Documenta as a wall grid, but are here restored to the sequence in which they were taken during a year of meandering walks. The NJ Meadowlands have long been at the core of Ashkin’s visual imagination. In the accompanying text, “There will be two of you,” an enigmatic incident at the landscape’s symbolic center promises a redemptive allegory it cannot deliver.

Brian Ulrich — Centurion

The title ‘Centurion’ refers to an urban legend of the 1980s that became a reality in 1999. The legend held that American Express issued, by invitation only, a special charge card to ultra-wealthy individuals, who could use it to purchase anything and everything that they wanted, from private planes to private islands—as long as they did not disclose the existence of the card. The company fielded hundreds of calls from people requesting to be considered for the card. Articles were written claiming that the card truly existed (one such article appeared in the Wall Street Journal in 1988), while others were written debunking the claim. Finally, in 1999, American Express launched the Centurion, an actual charge card program with features and benefits resembling those attributed to the elusive 1980s version.
An artist drawn to exploring the visual landscape of America’s consumption economy, Ulrich has spent the last several years photographing sites and people associated with extreme wealth. The allure of material abundance is among the most powerful forces driving contemporary culture, and it permeates contemporary advertising and popular culture. This, despite the old saw (and solid evidence) that money cannot buy happiness, is the contradiction powering the myth that resulted in the reality of the Centurion.

And working on books with

Martine Stig, McNair Evans, Awoiska van der Molen, Olga Sokal, Kim Boske, Nicola Nunziata, Anna-Kaisa Rastenberger & Iris Sikking, Simone Engelen, Andres Gonzalez, Liz Orton, and others.