Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

edited by in data
¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

ELFIE SEMOTAN ░ At Gisela Capitain

edited by in data

Elfie Semotan at Gisela Capitain



Artist: Elfie Semotan
Venue: Gisela Capitain, Cologne
Date: September 3 – October 22, 2016


Full gallery of images, press release, and link available after the jump.
Images:
Images courtesy of Galerie Gisela Capitain, Cologne. © Elfie Semotan. Photos by Simon Vogel.
Press Release:
Galerie Gisela Capitain is pleased to announce its second solo exhibition with Austrian artist Elfie Semotan.
Elfie Semotan, who gained attention as a photographer with her unconventional ad campaigns, fashion photography, and portraits, has chosen still life as the subject of her most recent work. In these new works, the artist finds her imagery by casting an especially attentive and sensitive gaze upon often overlooked and everyday objects. She delicately documents found, seemingly coincidental constellations among her immediate surroundings. Semotan’s view of the things around her is not dictated by an internalized, learnt way of seeing, but is rather one that is very much personal and intuitive. Unusual perspectives, and especially light, are characteristic aspects of her new compositions. The fall of light and cast shadows lend the objects a presence that exceeds their own physical boundaries. Semotan’s interest in structures, graphic forms, and specific similarities are all further important compositional aspects. Her still lifes are often indecipherable at first glance, rendering their recognizable references to reality momentarily enigmatic. Yet, Semotan does not seek to give everyday objects heightened importance through staging. Rather, she explores her surroundings in a visual way, making occurrences and situations normally afforded no special importance, visible. Semotan’s personal sensitivity and intuitive perception of her surroundings thus become formative moments in the creation of still lifes that are, at times, poetic.
“I react very personally to the inconspicuous and the overlooked. By photographing such things I elevate them to a level at which they can be seen, and correspondingly become beautiful and meaningful – making it important to see them.” (Elfie Semotan) 
Elfie Semotan, born in Wels, Upper Austria, in 1941, lives and works in New York, Vienna, and Jennersdorf, Austria.