artgenève 2022 — Selections
After being postponed, Art Geneve was able to celebrate its 10th Edition at Palexpo, Geneve, Switzerland. Little by little, Art Geneve positioned itself as one of the rising international art fairs. Its programme covers, not only a main section, but also specialised sections in sculpture, music, publishing, and of course, photography.
In this ‘Selections’ we put the focus on ‘artgenève/photographie’, a section curated by Chiara Agradi presenting some of the most interesting galleries working directly with photography. Most of these international galleries brought renowned artists from the last half of the 20th century, mixed with some of their late 2010s works. As every month, we bring you these articles to invite you to explore and support galleries, institutions and photographers.
Let’s open the article with a solo booth presentation of Miles Aldridge works by the Swiss gallery Christophe Guye. Based in Zurich, the gallery has a long history working with international established photographers. For ‘artgenève/photographie’ they showcased Miles Aldridge’s series ‘New Utopia’, a photographic exploration of the impact of pop culture mixed with the traditional artistic models. The visual language with which Aldridge relates, uses numerous references to classical art and constitutes the highest representation of modern life, its banalisation and ultimately, its divinisation.
Considered as one of the most relevant figures in European photography, the work from Guido Guidi accentuates the conventionality of rural and non-urban landscapes. During the 1960s he pursued the transformation of the countryside in Italy, and began to experiment with photography as a tool to document these alterations. Influenced by conceptual art, his body of work and descriptive approach to the medium marked a major turning point in Italian photography, generating an extensive visual archive of Italian natural and man-made landscape.
Torbjørn Rødland’s photographs accentuate texture and materiality as a way to communicate emotions. Instead of being consumed by commercial imagery, his photographs require slowness, resisting a quick reading, even if they attract us by their sensuality. If we allow this slow observation, new layers of complexity will be gradually uncovered. Rødland defends the interpretation of photography as an object from an analytical perspective. He opens up his imagery to be more actively involved in its contemporaneity, activating emotions through multicultural references.
Galerie Gregor Staiger showcases a solo exhibition by Walter Pfeiffer. Over the last years, his work passed under the radar of big institutions, but in the past few years has drawn major attention from international collectors and art professionals. He started in the 1970s without any pretension, his main goal was to provide an innovative visual language that will connect serenity, erotism, beauty and freedom. The presentation at artgenève includes a selection of polaroids from the mid 1970s up to 2019. His honest photographs of his friends anticipated the work of a younger generation of photographers like Wofgang Tillmans or Ryan McGingley.
Experimentation is fundamental to Mario Cresci’s photographic work. Heavily influenced by the main protagonists of Arte Povera, Cresci found the importance of using different techniques to give a new definition to photography. For ‘artgenève/photographie’ Materia presents ‘Analogie e memoria’, a body of work produced in the late 1970s and 1980s. In this series, the artist combines numerous techniques and materials. The whole presentation is perceived as a diary in which all elements are organised as an encyclopaedia.