A perfect sentence:
Oliver Frank Chanarin's practice has long pushed against the edges of the photographic medium to interrogate dynamics of power and visibility, and challenge the ethics of documentary photography. Following the dissolution of the twenty-year creative partnership Broomberg & Chanarin, the art...
Gespeichert in:
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Format: | Buch |
Sprache: | English |
Veröffentlicht: |
[London]
Loose Joints
[2023]
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Ausgabe: | First edition |
Schlagworte: | |
Zusammenfassung: | Oliver Frank Chanarin's practice has long pushed against the edges of the photographic medium to interrogate dynamics of power and visibility, and challenge the ethics of documentary photography. Following the dissolution of the twenty-year creative partnership Broomberg & Chanarin, the artist's first solo project returns to an origin point: using the camera and the photographic encounter to speak towards, penetrate, and critique our lived experience. Drawing as much from August Sander as W. G. Sebald, Chanarin's photographic wanderings and auto-fictional experiments engage with the artist's subjectivity while querying the slippery terrain of documentary photography. Chanarin often finds himself on the margins — from suburban fetish clubs to accident-faking ambulance chasers, or from amateur dramatics groups in church halls to gender activists protesting in the streets. In a country fragmented by political polarisation, pandemic isolation and the weaponisation of identity politics, Chanarin attempts to reconcile the eccentricity of Britishness with the pressing need for new forms of representation. Like Chanarin's previous projects, A Perfect Sentence crisscrosses the line between discipline and chance: organised collaborative photoshoots with institutional partners give way to chance encounters with strangers and friends, missteps and wilful attempts at getting lost in the world, chaos in the darkroom, and self-critical texts. Chanarin refuses the authority of a final image, often choosing to present in-progress darkroom prints that show the processes of correction, redaction and selection, the images refusing to resolve themselves. The Sisyphean and futile task of distilling a country onto the page becomes grist for the mill as Chanarin's candid images — sometimes uncomfortable and disquieting, elsewhere bucolically British — accrue and coagulate, like thick piled slabs of buttered toast |
Beschreibung: | Impressum: Oliver Frank Chanarin's artwork "A Perfect Sentence" (2023) was commissioned and produced by Forma in collaboration with eight UK organisations: Artes Mundi, Cardiff; KARST, Plymouth; Guildhall Art Gallery, City of London Corporation; Norfolk Museums Service (Norwich Castle Museum and Art Gallery, Norwich, and Time and Tide Museum, Great Yarmouth); originalprojects;, Great Yarmouth; QUAD FORMAT International Photography festival, and Derby Museums, Derby; and Wolverhampton Art Gallery, Wolverhampton. Supported by Arts Council England, Art Fund and Outset Partners. National Lottery through Arts Council Wales, Kick The Dust and the City of London Corporation's Inspiring London Through Culture grants programme, supported the productions in Wales, Great Yarmouth and London respectively |
Beschreibung: | 205 Seiten 26 cm |
ISBN: | 9781912719471 1912719479 |
Internformat
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500 | |a Impressum: Oliver Frank Chanarin's artwork "A Perfect Sentence" (2023) was commissioned and produced by Forma in collaboration with eight UK organisations: Artes Mundi, Cardiff; KARST, Plymouth; Guildhall Art Gallery, City of London Corporation; Norfolk Museums Service (Norwich Castle Museum and Art Gallery, Norwich, and Time and Tide Museum, Great Yarmouth); originalprojects;, Great Yarmouth; QUAD FORMAT International Photography festival, and Derby Museums, Derby; and Wolverhampton Art Gallery, Wolverhampton. Supported by Arts Council England, Art Fund and Outset Partners. National Lottery through Arts Council Wales, Kick The Dust and the City of London Corporation's Inspiring London Through Culture grants programme, supported the productions in Wales, Great Yarmouth and London respectively | ||
520 | 3 | |a Oliver Frank Chanarin's practice has long pushed against the edges of the photographic medium to interrogate dynamics of power and visibility, and challenge the ethics of documentary photography. Following the dissolution of the twenty-year creative partnership Broomberg & Chanarin, the artist's first solo project returns to an origin point: using the camera and the photographic encounter to speak towards, penetrate, and critique our lived experience. Drawing as much from August Sander as W. G. Sebald, Chanarin's photographic wanderings and auto-fictional experiments engage with the artist's subjectivity while querying the slippery terrain of documentary photography. Chanarin often finds himself on the margins — from suburban fetish clubs to accident-faking ambulance chasers, or from amateur dramatics groups in church halls to gender activists protesting in the streets. In a country fragmented by political polarisation, pandemic isolation and the weaponisation of identity politics, Chanarin attempts to reconcile the eccentricity of Britishness with the pressing need for new forms of representation. Like Chanarin's previous projects, A Perfect Sentence crisscrosses the line between discipline and chance: organised collaborative photoshoots with institutional partners give way to chance encounters with strangers and friends, missteps and wilful attempts at getting lost in the world, chaos in the darkroom, and self-critical texts. Chanarin refuses the authority of a final image, often choosing to present in-progress darkroom prints that show the processes of correction, redaction and selection, the images refusing to resolve themselves. The Sisyphean and futile task of distilling a country onto the page becomes grist for the mill as Chanarin's candid images — sometimes uncomfortable and disquieting, elsewhere bucolically British — accrue and coagulate, like thick piled slabs of buttered toast | |
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Datensatz im Suchindex
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author | Chanarin, Oliver 1971- |
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author_GND | (DE-588)132366169 |
author_facet | Chanarin, Oliver 1971- Chanarin, Oliver 1971- |
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author_sort | Chanarin, Oliver 1971- |
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building | Verbundindex |
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ctrlnum | (OCoLC)1396137257 (DE-599)KXP1858772419 |
discipline | Allgemeines |
discipline_str_mv | Allgemeines |
edition | First edition |
era | Geschichte 2023 gnd |
era_facet | Geschichte 2023 |
format | Book |
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Sebald, Chanarin's photographic wanderings and auto-fictional experiments engage with the artist's subjectivity while querying the slippery terrain of documentary photography. Chanarin often finds himself on the margins — from suburban fetish clubs to accident-faking ambulance chasers, or from amateur dramatics groups in church halls to gender activists protesting in the streets. In a country fragmented by political polarisation, pandemic isolation and the weaponisation of identity politics, Chanarin attempts to reconcile the eccentricity of Britishness with the pressing need for new forms of representation. Like Chanarin's previous projects, A Perfect Sentence crisscrosses the line between discipline and chance: organised collaborative photoshoots with institutional partners give way to chance encounters with strangers and friends, missteps and wilful attempts at getting lost in the world, chaos in the darkroom, and self-critical texts. 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illustrated | Not Illustrated |
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indexdate | 2024-09-23T22:10:47Z |
institution | BVB |
isbn | 9781912719471 1912719479 |
language | English |
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physical | 205 Seiten 26 cm |
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publisher | Loose Joints |
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spelling | Chanarin, Oliver 1971- (DE-588)132366169 pht aut A perfect sentence Oliver Frank Chanarin First edition [London] Loose Joints [2023] 205 Seiten 26 cm sti rdacontent txt rdacontent n rdamedia nc rdacarrier Impressum: Oliver Frank Chanarin's artwork "A Perfect Sentence" (2023) was commissioned and produced by Forma in collaboration with eight UK organisations: Artes Mundi, Cardiff; KARST, Plymouth; Guildhall Art Gallery, City of London Corporation; Norfolk Museums Service (Norwich Castle Museum and Art Gallery, Norwich, and Time and Tide Museum, Great Yarmouth); originalprojects;, Great Yarmouth; QUAD FORMAT International Photography festival, and Derby Museums, Derby; and Wolverhampton Art Gallery, Wolverhampton. Supported by Arts Council England, Art Fund and Outset Partners. National Lottery through Arts Council Wales, Kick The Dust and the City of London Corporation's Inspiring London Through Culture grants programme, supported the productions in Wales, Great Yarmouth and London respectively Oliver Frank Chanarin's practice has long pushed against the edges of the photographic medium to interrogate dynamics of power and visibility, and challenge the ethics of documentary photography. Following the dissolution of the twenty-year creative partnership Broomberg & Chanarin, the artist's first solo project returns to an origin point: using the camera and the photographic encounter to speak towards, penetrate, and critique our lived experience. Drawing as much from August Sander as W. G. Sebald, Chanarin's photographic wanderings and auto-fictional experiments engage with the artist's subjectivity while querying the slippery terrain of documentary photography. Chanarin often finds himself on the margins — from suburban fetish clubs to accident-faking ambulance chasers, or from amateur dramatics groups in church halls to gender activists protesting in the streets. In a country fragmented by political polarisation, pandemic isolation and the weaponisation of identity politics, Chanarin attempts to reconcile the eccentricity of Britishness with the pressing need for new forms of representation. Like Chanarin's previous projects, A Perfect Sentence crisscrosses the line between discipline and chance: organised collaborative photoshoots with institutional partners give way to chance encounters with strangers and friends, missteps and wilful attempts at getting lost in the world, chaos in the darkroom, and self-critical texts. Chanarin refuses the authority of a final image, often choosing to present in-progress darkroom prints that show the processes of correction, redaction and selection, the images refusing to resolve themselves. The Sisyphean and futile task of distilling a country onto the page becomes grist for the mill as Chanarin's candid images — sometimes uncomfortable and disquieting, elsewhere bucolically British — accrue and coagulate, like thick piled slabs of buttered toast Chanarin, Oliver 1971- (DE-588)132366169 gnd rswk-swf Geschichte 2023 gnd rswk-swf Fotografie (DE-588)4045895-7 gnd rswk-swf Portrait photography Photobooks Photography (DE-588)4145395-5 Bildband gnd-content Chanarin, Oliver 1971- (DE-588)132366169 p Fotografie (DE-588)4045895-7 s Geschichte 2023 z DE-604 |
spellingShingle | Chanarin, Oliver 1971- A perfect sentence Chanarin, Oliver 1971- (DE-588)132366169 gnd Fotografie (DE-588)4045895-7 gnd |
subject_GND | (DE-588)132366169 (DE-588)4045895-7 (DE-588)4145395-5 |
title | A perfect sentence |
title_auth | A perfect sentence |
title_exact_search | A perfect sentence |
title_exact_search_txtP | A perfect sentence |
title_full | A perfect sentence Oliver Frank Chanarin |
title_fullStr | A perfect sentence Oliver Frank Chanarin |
title_full_unstemmed | A perfect sentence Oliver Frank Chanarin |
title_short | A perfect sentence |
title_sort | a perfect sentence |
topic | Chanarin, Oliver 1971- (DE-588)132366169 gnd Fotografie (DE-588)4045895-7 gnd |
topic_facet | Chanarin, Oliver 1971- Fotografie Bildband |
work_keys_str_mv | AT chanarinoliver aperfectsentence |