1. Adam Broomberg and Oliver Chanarin: Rudiments (2015)


    from Forma Arts Added

    Broomberg and Chanarin’s new film explores the formative moments of early youth and is propelled by a dramatic score devised for the drums by the American musician Kid Millions. June 27 – September 06, 2015 The Centre for Contemporary Art, Warsaw, Poland September 25 – October 31, 2015 Lisson Gallery, London, United Kingdom http://www.forma.org.uk/programme/film/adam-broomberg-oliver-chanarin-rudiments Rudiments is co-commissioned by Centre for Contemporary Art Ujazdowski Castle and Forma Arts. Supported by Arts Council England.

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    • Adam Broomberg & Oliver Chanarin RUDIMENTS | PODSTAWOWE ZASADY - zwiastun wystawy


      from CSW TV Added

      Otwarcie wystawy: 26 czerwca 2015 (piątek), godz. 19.00 Wystawa czynna do 6 września 2015 Kuratorka: Kaja Pawełek Koordynatorka: Katarzyna Tomczak-Wysocka csw.art.pl/index.php?action=aktualnosci&s2=1&id=1178&lang= facebook.com/cswzu twitter.com/CSW_WARSAW instagram.com/csw_art# Film "Rudiments" ('Podstawowe zasady') powstał we współpracy Centrum Sztuki Współczesnej Zamek Ujazdowski i Forma Arts Wsparcia udzieliło: Arts Council England Partner wystawy: British Council Partner CSW: REGENT Warsaw Hotel Patroni medialni wystawy: Gazeta Wyborcza, Wyborcza.pl Warszawa, Gazeta Co Jest Grane, TOK FM, ELLE, ELLE Decoration, Aktivist, artinfo.pl, Stolica CSW Zamek Ujazdowski uczestniczy w programie MKiDN "Kultura dostępna" --- © CSW TV 2015

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      • Broomberg & Chanarin: Low Light


        from PhotoQ Added 332 6 0

        For their solo exhibition To Photograph the Details of a Dark Horse in Low Light, internationally highly acclaimed artists Adam Broomberg (South Africa, 1970) and Oliver Chanarin (Great Britain, 1971) lead viewers through a meandering and disturbing history lesson on the relationship between photography and race. In response to a commission to 'document' Gabon, Broomberg & Chanarin made several trips to the West African country to photograph a series of rare initiation rituals, using only Kodak film stock that had expired in the 1960's. In the late 1970's the French-Swiss filmdirector Jean Luc Godard famously claimed that this early colour film was inherently 'racist', because it was better at depicting white rather than black skin. Using outdated chemical processes Broomberg & Chanarin salvaged just a single frame from the many rolls of expired film they exposed during these trips. This piece called Ektachrome 78 serves as a starting point for the exhibition. Another key work in the exhibition is a billboard-sized photograph of Shirley, a 1950's model for the Kodak Eastman Company. Her portrait was distributed to photography labs all over the world as a visual reference for correct exposure. Shirley became a benchmark for 'normal' Caucasian skin. In the eighties, Kodak eventually developed a colour film that was capable of rendering darker tones. The company director described this film as being able to "photograph the details of a dark horse in low light." Kodak Ektachrome 78 and Shirley are presented alongside works whose parameters were dictated to Broomberg & Chanarin by archival material of their deceased family friend, amateur photographer and anatomist, Dr. Rosenberg. After their trips to West Africa they inherited his darkroom equipment. Some of his notes were about making photographic test strips to determine the correct exposure time. Broomberg & Chanarin followed these instructions to produce a series of oversized darkroom experiments they call Strip Tests. The connection between photography and racism is further explored in the Polaroid Revolutionary Workers Movement series. In 1970, Caroline Hunter, a young chemist working for the Polaroid Corporation based in the United States, stumbled upon evidence that her company indirectly supported the apartheid regime in South Africa. Polaroid was able to provide their ID-2 camera system to the South African state, to efficiently produce images for the infamous passbooks, which the black population was required to carry with them. The camera included a boost button designed to increase the flash when photographing subjects with dark skin, and two lenses which allowed for the production of a portrait and profile image on the same sheet of film. Hunter and her partner Ken Williams formed the Polaroid Workers Revolutionary Movement, and successfully campaigned for a boycott of the apartheid government. Broomberg & Chanarin's series of Polaroids, made with a renovated Polaroid ID camera, considers the proposition that prejudice might be inherent in the medium of photography itself. About Adam Broomberg and Oliver Chanarin Adam Broomberg and Oliver Chanarin recently won the Deutsche Börse Photography Prize and the ICP Infinity Award. They have published nine monographs and have had numerous international exhibitions including the Museum of Modern Art (New York), Tate (London), Gwagnju Biennale, Stedelijk Museum (Amsterdam), the International Center of Photography (New York), KW Institute for Contemporary Art (Berlin), The Photographers' Gallery (London), Mathaf Arab Museum of Modern Art (Doha) and the Shanghai Bienale. Broomberg & Chanarin are Visiting Fellows at the University of the Arts London. Their work is represented in major public and private collections including The Museum of Modern Art, Tate Modern, the Stedelijk Museum, Victoria and Albert Museum, Musee de l'Elysee and the International Center of Photography. They are represented by Lisson Gallery, London and Goodman Gallery, South Africa. The exhibition Broomberg & Chanarin: To Photograph the Details of a Dark Horse in Low Light can be seen from 20 March until 3 June 2015 in Foam. Open daily 10am - 6pm, Thurs/Fri 10am - 9pm. Entrance: €10,- www.foam.org/tickets

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        • Adam Bromberg & Oliver Chanarin’s “War Primer 2” by Tate - NOWNESS


          from NOWNESS Added

          South African artist duo Broomberg and Chanarin tackle the subject of war with a performance that sees fledgling cadets march through the London’s Tate Modern. Read the full feature on NOWNESS: http://bit.ly/1Cc7sMQ

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          • Jerwood/Photoworks Awards panelist Oliver Chanarin, 2015


            from Photoworks Added 328 1 0

            Oliver Chanarin, panelist for the inaugural Jerwood/Photoworks Awards, discusses the selection process.

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            • ECA Friday Art talks: Oliver Chanarin, 28/09/14


              from HSS Webteam Added 76 0 0

              This lecture is part of the Friday Art talks series which take place in the Main Lecture Theatre, ECA Main Building. Oliver Chanarin is one half of Broomberg & Chanarin; artists living and working in London. Together, Broomberg & Chanarin have had numerous international exhibitions and founded the imprint Chopped Liver Press to publish and sell their own books, as well as those by other artists. In 2013, they were awarded the Deutsche Börse Photography Prize in recognition of their "significant contribution to the medium of photography” for War Primer 2 and, most recently, collected the ICP Infinity Award 2014 for their publication, Holy Bible.

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              • Adam Broomberg and Oliver Chanarin: Warprimer 2 (2013) Q&A at the Photographers' Gallery


                from Forma Arts Added

                Adam Broomberg and Oliver Chanarin in discussion with Brecht Scholar Karen Leeder and Conductor Paul Kildea. Recorded after the Preview Performance of War Primer 2 at the Photographers Gallery on April 25, 2013.

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                • To The End - Woman's Hour


                  from Woman's Hour Added 11.2K 89 2

                  Directed by Oliver Chanarin and Laurence Hamburger Produced by Nobodies Business in Johannesburg, South Africa Performed by Siphiwe Mosoang and Xolani Nxumalo Edited by Benjamin Wainwright-Pearce Our Love Has No Rhythm / To The End will be released 8th April on Parlour Records Parallel Lines are hosting the single launch at Hoxton Hall on 6th Feb. Buy tickets here: https://parallellines.ticketabc.com/events/womans-hour/ Pre-order the single Vinyl: http://www.parlour-records.com/ Download: http://www.7digital.com/artist/womans-hour-1/release/to-the-end

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                  • Gabriel Orozco - Toxico (2007)


                    from Dustin Lynn Added 144 0 0

                    In 2007, after having spent more than two years primarily in Mexico, artist Gabriel Orozco and his family went to Bonn, Germany, where they would stay for approximately five months. Orozco interrupted this stay only with occasional visits to Paris and one to Ecuador. That April David de Rothschild, a friend of Orozco's, invited the artist to join him on an expedition to explore the Ecuadorian rainforests ravaged by the oil industry. Along with Orozco, Rothschild invited photographers Oliver Chanarin and Adam Broomberg, filmmaker Dustin Lynn, and ethnobotanist Maria Fadiman "as a test of what artists could accomplish when brought face to face with ecological disaster". After traveling throughout the Amazon, the group ended up in an Achuar Nation settlement in the village of Sharamentsa. There Orozco created a series of drawings that eventually became an installation reminiscent of the "working tables". Barrowing a small notebook from Rothschild and using dried twigs as brushes, Orozco stained the paper with an ink that the people of Sharamentsa traditionally used as body paint. A group of children watched him work. He asked the children to grab handy pieces of clay to hold the paper in place while the ink dried. They brought him the broken bits of pottery and placed one piece per paper. As Orozco has recalled, "The moment I put the paper on the table, they tried to be the fastest to put the piece of pottery on top of it. Probably they liked that I was doing my own thing and they could check me out, instead of me looking at how they work the land or how they do their own things." Admiring the pieces of red-stained paper weighed down by red pottery shards, Orozco decided that the drawings should remain in this configuration. The tabletop installation was exhibited at Marian Goodman Gallery the following year. Toxico (Reels No. 1 - 8) is Dustin Lynn's intimate chronological film document of Gabriel Orozco's expedition throughout the Ecuadorian Amazon. Fragile in its minimalism and filmed entirely using a 16mm Bolex crank-wind camera, a camera traditionally designed for war and wildlife documentary filming in the 1960s, limiting Lynn to a maxim of only 35-40 second takes at a time. The film was for the most part edited in camera and is sectioned into eight vignettes.

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                    • Mr Mkhize's Portrait


                      from schmutz Added 109 0 0

                      Client Channel 4 Production Company Raw Television Director Adam Broomberg and Oliver Chanarin

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