Photo Basel 2017

PUBLIC HOURS:
Wednesday, june 14th, 12-8pm
Thursday, june 15th, 12-8pm
Friday, june 16th, 12-8pm
Saturday, june 17th, 12-8pm
Sunday, june 18th, 12-6pm

ADDRESS:
Volkshaus Basel Rebgasse 12-14
4058 Basel Switzerland

Grundemark Nilsson Gallery will be participating at the third edition of Photo Basel. We will show the works of Pernilla Zetterman (SE), Uta Neumann (DE), Henrik Strömberg (DE/SE) and Thom Bridge (UK/SE). Additionally we are proud to present video works of Yvon Chabrowski (GER) and Olivier Cheval (FR) at the newly created sector of Photo Basel, tape / basel, which focuses on international video art.

Thom Bridge, Elite (Positive Contact), 2014-2015, Fibre-based silver gelatin print from digital negative, 25 x 20 cm. Edition 7 + 2 AP.

Elite consists of four photographic prints all deriving from one single negative, a digital negative made from a manipulation of the packaging of a 1980s photographic paper. Presented as silver gelatin prints this work betrays the nuances of the methods used to create it: the raster of the original, the digital slip of its manipulation, the physicality of the digital negative and the tonality of the paper. The work comes in two sizes and each size comprises of a positive and a negative version. The smaller size is first a direct contact print of the digital negative titled Elite (Positive Contact). This positive print is then used as a negative to make a negative direct-contact print version titled Elite (Negative Contact).

Yvon Chabrowski, TERRITORY | SCREEN, one channel video installation, 92 x 55 cm on a 40 inch monitor, Full-HD, 28 min, color, sound.

The video work TERRITORY | SCREEN is limited to the size of the monitor and the performance artist appears to be live sized. The screen functions as a barrier, she barely has enough space to move and she twists and turns her body.

Olivier Cheval, The Museum Is Free, 2015, HD, 1920 x 1980, 12’09 min, 1/5 + 1 AP.

In a long travelling shot, a female avatar is accompanied through the virtual museum of violence. Through the eyes of the fictitious figure, the beholders of the video installation see the already iconized photos and filmic exhibits of violence and horrors of US post-1945 history. Not only the atomic bombings of Hiroshima and Kennedy’s assassination, but also images from the Vietnam War, documentations of 9/11, and the green flashes of light illustrating air strikes in the Iraq War. We see how instrumental influences and the image codes of documentations have changed over the past seventy years.

Uta Neumann, Approaching grey (Colored stones), 2014, C-Print from black/white negative, 27,4 x 32,4 cm, Edition unique.

The composition Approaching grey (Colored stones) by Uta Neumann consists of 20 photographs of the same motif of a rock that show a varying color scale ratio of bright to dark. “Each increment of emergence alters the material nature of the subject; each aspect that emerges causes another one to retreat into the background: dissolution evolves into the extraction of a presence and of the characteristics of the object at hand. As it obscures one part, the oscillation between “being” and “not being” coincides with an awareness and presence of the obscure.” (Uta Neumann)

Henrik Strömberg, Compost, 2017, pigment print, 70 x 50 cm, Edition 1/3 + 1AP

[…] # 4. The compost is not: A structure (it doesn’t care about differences); a brand (it has no strategy); a concept (at least not a well-defined one…and sometimes it smells); a collection (it has no borders, it doesn ́t exclude anything or anyone); nostalgic (it has an appetite for the past, that is true, but it produces soil and continuations, not returns to lost homes); utopic (it’s based on waste and memories).
# 5. The compost is: Process; metabolism; metamorphosis; a passage between the domesticated (geometrical) and the wild (spontaneous), between the actual and the possible; a temporary refuge; a place that speaks (or murmurs) […]. (Jens Soneryd)

Pernilla Zetterman, Grammar, 2008
Screen print on glass, 43 x 43 cm, Edition unique.

In Grammar, Pernilla Zetterman explores questions of language, communication and codification. As a starting point she used her own relationship to speech and writing, as well as the challenge of a foreign language and the possibility of human understanding and misunderstanding. Grammar consists of word combinations from a study on dyslexia, as well as photographs and a video work in which she experiments with visualizing vulnerability, trust and introversion.