There are but few reproductions where the effects of human existence cannot be discerned. Whether this is of specific interest to the artists or just an inevitable consequence of the location within which he lives and works, is hard to say.
Ine Lamers (Wijchen, 1965)
In this presentation a selection of photographic work from Ine Lamers will be shown from a wider project she completed named ´Tolyatti´. Since 2003 Lamers has visited this city a number of times upon which she created a diverse range photographic and video work.
Tolyatti (formally Stavropol) is a model industrial city. Renamed in 1964 after Italian trade unionist Palmiro Togliatti, it presides over a population of 700.000 and was formed in the fifties at the banks of a new and large artificial reservoir. The old city of Stavropol had to make way for Khrushchev´s cascade of water powered electricity plants, a colossal project to bring electricity to the Soviet Union by means of the Volga. The old city was literally drowned out.
Renato Nicolodi (Anderlecht, 1980)
The architectural work of Nicolodi is clearly monumental. The artist is inspired by classical big city architecture, which he uniquely processes. It is only when the viewer steps onto the work and inspects it from close range, that he can completely understand the work. Different vantage points and views reveal subtle games of light gradations. Pure formalistic language is given an almost sacred priority.
Renie Spoelstra (Drachten, 1974)
Renie Spoelstra strives for an atmosphere of intentional apathy; hours and days pass in a flash, every moment frozen in time and every moment the same. Her more recent work is particularly concerned with the generalisation of the unique. Spoelstra films and photographs different pieces of Dutch woodland and recreational areas that bear no specific or distinctive marks. ´What I wish to capture is the mundane, that without climax or event. Using these photographs as a basis I start drawing. I have consciously chosen to make large format charcoal drawings because of the need for resistance in my materials and a work intensive process.´ In the colourless greys and jet blacks of the different chalk types, she is able to conjure up atmospheres from the mundane and everyday to that of a creeping and disquieting tension.
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