Katier shows: Paparazzi! Photographers, stars and artists

From 26 February to 9 June 2014

POMP

In this original exhibition, Centre Pompidou-Metz examines the phenomenon and aesthetic of paparazzi photography through more than 600 works spanning multiple disciplines: photography, painting, video, sculpture, installation, etc.

Covering fifty years of celebrities caught in the lens, Paparazzi! Photographers, stars and artists considers the paparazzo at work by examining the complex and fascinating ties between photographer and photographed, going on to reveal the paparazzi influence on fashion photography. By associating some of the genre’s leading names, the likes of Tazio Secchiaroli, Ron Galella, Bruno Mouron and Pascal Rostain, with works by Richard Avedon, Raymond Depardon, Yves Klein, Gerhard Richter, Cindy Sherman and Andy Warhol, all of whom reflected on this modern-day myth, Paparazzi! Photographers, stars and artists sets out to define the paparazzi aesthetic.

The figure of the “paparazzi” was invented by Federico Fellini in his 1960 film La Dolce Vita as a contraction of “pappataci” (mosquitoes) and “ragazzi” (ruffians). Thus the practice of tracking celebrities in the hope of a candid shot has been around for more than half a century. Since then, this post-modern hero has become a legend of the popular press, akin to a war correspondent reporting from the frontline of fame. The profession of paparazzo is more complex than it seems. Paparazzi must be ingenious. They each have their tricks of the trade and tales to tell which together form the grand story of “paparazzism”.

Their targets are almost always women who epitomise their era’s feminine ideal: Brigitte Bardot, Jackie Kennedy-Onassis, Liz Taylor, Stephanie and Caroline of Monaco, Paris Hilton, Britney Spears… But celebrities are not just helpless victims. They defend themselves, prevent the photograph from being taken, even attack their assailant.

They can also be a willing accomplice, playing up to the camera and even setting up shots. Some go as far as to invent their own way of escaping the star system and its constraints. Since the 1960s and 70s, the attitudes adopted by these image-mongers have fascinated countless artists who, in one or other work, have stepped into the paparrazo’s shoes. Similarly, the paparazzi aesthetic (long lens, enlarged grain, flashes, etc.) has inspired works by many contemporary artists, including Viktoria Binschtok, Malachi Farrell, Kathrin Günter, Alison Jackson and Armin Linke.

A catalogue accompanies the exhibition.

Curator: Clément Chéroux, Curator, Centre Pompidou, Musée National d’Art Moderne, Photography Department. Associate curators: Quentin Bajac, chief curator of photography at Museum of Modern Art, New York Sam Stourdzé, Director, Musée de l’Elysée, Lausanne

Katier presents: Star Shots Magazines

Katier is very happy to have been invited by infamous occulto magazine to join their desk at MISS READ – The Berlin Art Book Fair from 19th – 22th of September! Two new editions of my freshly printed Star Shots Magazines and my self are looking forward to meeting you at the occulto magazine desk!
THANK YOU OCCULTO!!!

MISS READ will be hosted by abc – art berlin contemporary for the second year, after taking place at KW Institute for Contemporary Art for the previous three years.

Location:
abc art berlin contemporary
Luckenwalder Strasse 4-6
10963, Berlin
Germany

Opening hours
Thursday, 19.9.2013, 12-9pm
Friday, 20.9.2013, 12–7 pm
Saturday, 21.9.2013, 12–7 pm
Sunday, 22.9.2013, 12–7 pm

Free Entry

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Katier shows: International Teletext Art Festival

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15.8.-15.9.2013
INTERNATIONAL TELETEXT ART FESTIVAL ITAF

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An exhibition in ARD Hauptstadtstudio exhibition space in Berlin

The festival opens on August 15th in Berlin at the ARD Hauptstadtstudio exhibition space were the ITAF works will be displayed untill the 15th September and continues in Filmkunstbar Fitzcarraldo with some program. The following day ITAF continues with a Teletext Cocktailparty in Musterzimmer Showroom for Contemporary Art. > info on opening program, schedule and locations

“Any sufficiently advanced technology is indistinguishable from magic.”

Arthur C. Clarke

Teletext, first invented some 30 years ago, utilizes the “vertical blanking interval” lines that together form the dark band dividing pictures horizontally on the television screen. Technically it has remained almost unchanged until recently when TV became digital. Teletext being an amazing success story still attracts millions of visitors daily for the latest news headlines, weather reports or sports results.

The potential of Teletext as an tool for artistic expression has not yet been fully discovered though the aesthetics of Teletext have slowly creeped in to the most fashionable street ware, graffiti and fine art. Is the next big word in intellectual small talk of the hip, rich and famous going to be teletextualism? Time will show, but since it happens The International Teletext Art Festival gives the possibility to the Teletext users to decide for themselves.

Participating artists:
LIA, Manuel Knapp, UBERMORGEN, Daniel Egg, Marc Lee, Raquel Meyers, Kathrin Günter, Max Capacity, Dragan Espenschied, Jarkko Räsänen, Seppo Renvall , Juha van Ingen, Cordula Ditz, John Lawrence and Goto80

A group of experts (Paul B. Davis, Voin de Voin and Rosa Menkman) will select one of the participating artists to receive the Teletext Art Prize.You too can vote for your favourite artwork.

ITAF2013 will also be in the program of Ars Electronica Festival , Linz, Austria, 5.9.-9.9.2013

The International Teletext Art Festival is a FixC cooperative project www.fixc.fi made in collaboration with ARD Text www.ard-text.de, ORF TELETEXT teletext.orf.at and Swiss TXT www.teletext.ch.

For more info and PR images contact: Juha van Ingen ITAF / FixC
itaf2013 (at) fixc (dot) com / phone: (+) 358 40 5932694
FixC cooperative Alppikatu 17 LH2 FI-00530 Helsinki www.fixc.fi

The official ITAF2013 opening is in ARD Haupstadtstudio exhibition space 15.8. at 19.00 in ARD-Hauptstadtstudio Wilhelmstraße 67a Berlin-Mitte

Note! Entering to ARD building requires a pre registrtion by sending your name by e-mail to: kommunikation@ard-hauptstadtstudio.de

Remember to bring your ID with you to be sure you get into the building!

The unofficial ITAF2013 opening starts in Filmkunstbar Fitzcarraldo at 21.00.

You can start at the bar and join us in the Jungle (screening space) to see some Teletext works from 2012 + 80′s style lo-fi Teletext videomix with live sound by FixC + some mod music. Everybody welcome!

Filmkunstbar Fitzcarraldo
Filmkunst-Videothek & BarReichenberger Str. 133 10999 Berlin–Kreuzberg
> www.filmkunstbar.de

On Friday 16.8.

A Teletext Cocktailparty in Musterzimmer from 19.00 to 22.00
Teletext works from 2012/2013 + refreshments. Everybody welcome!

Musterzimmer Showroom for Contemporary Art
Crellestrasse 44 10827 Berlin
> www.musterzimmer.net

Star Shots 3 Feature: Photomediations Machine

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Katier is very happy to be part of this months’ selection of the
Photomediations Machine!

Photomediations Machine is a curated online space where the dynamic relations of mediation as performed in photography and other media can be encountered, experienced and engaged.

Photomediations Machine adopts a process-based approach to image making by tracing the technological, biological, cultural, social and political flows of mediation that produce photographic objects.

Showcasing theoretical and practical work at the intersections of art and mainstream practices, Photomediations Machine is both an archive of mediations past and a site of production of media as-we-do-not-know-them-yet.

Photomediations Machine is non-commercial, non-profit and fully open access. Copyright remains with the original holders. Please do not reuse or republish any material from this site without obtaining permission first.

Curator
Professor Joanna Zylinska, Goldsmiths, University of London, UK

Associate Curator
Ting Ting Cheng, artist, UK/Taiwan

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Photomediations Machine is a sister project to the online open access journal Culture Machine, established in 1999. In trying to redraw the boundaries between media, technology, philosophy, culture and art, Culture Machine’s agenda has been explicitly ‘open-ended, non-goal orientated, exploratory and experimental’. Its machinic mode of operation indicates that its agencies and actions have not always been just human. It is this aspect of non-human production, both on the level of concepts and on the level of matter, that Photomediations Machine borrows from its older sibling.

The concept of mediation embedded in the idea of ‘photomediations’ points to the more processual understanding of media that has recently been taken up by scholars and artists alike. It suggests that the photograph as such does not exist. Instead, there are only multiple and ongoing processes of photomediation. Seen in this light, photography names an active practice of cutting through the flow of photomediation, where the cut operates on a number of levels: perceptive, material, technical, and conceptual. In other words, photography can be described as a practice of making good cuts. Performed by human and nonhuman agents alike, these cuts participate in the wider process of imagining the world. What we conventionally understand as ‘photographic practice’ is therefore only a part of Photomediations Machine’s wider focus.