January 12, 2000

Exposition de photographies d’Henri Cartier-Bresson, Les Européens à Helsinki

Henri Cartier-Bresson, Les Européens

Musée d'Art de la Ville d'Helsinki, 12 janvier - 30 avril 2000

185 photographies en noir et blanc prises par Henri Cartier-Bresson sur plus d’un demi-siècle, des années 1920 à 1998, sont exposées à Helsinki. Cette exposition est un des événements de photo.doc, partie photographique des manifestations culturelles organisées dans le cadre d’Helsinki 2000, ensemble d’événements culturels organisés par la ville pour fêter le nouveau millénaire. Cette exposition  avait été présentée auparavant à la Maison Européenne de la photographie à Paris.

Meilahti Art Museum
Helsinki, Finlande

Expositions suivantes au musée d’Art d’Helsinki :

Mauno Markkula, 15 mai - 6 août 2000
Zen Master Sesshu et ses disciples, 23 août - 12 novembre 2000
La collection Bäcksbacka, 25 novembre 2000 - 25 février 2001

January 9, 2000

André Kertész, Peter Fetterman Gallery, Santa Monica

André Kertész: Painting with Light
Peter Fetterman Gallery, Santa Monica
January 15 - March 4, 2000

The Peter Fetterman Gallery presents an exhibition of the photographs of André Kertész, one of the twentieth century's foremost photographers. The exhibition features photographs from all periods of Kertész's oeuvre.

André Kertész, (1894-1985) was born in Budapest, Hungary. At age eighteen, Kertész purchased his first camera, which was an early hand-held instrument. This gave him the freedom to be much more creative in his photography. From 1914-1918, André Kertész fought in World War I, where he served in the Austro-Hungarian army and photographed behind the lines. After the war, André Kertész struggled to find his niche as he worked at the Budapest Stock Exchange and began experimenting with photography including some early distortions and tension in his compositions.

André Kertész career began to take off when he moved to Paris in 1925. He was the first serious photographer to master the newly invented Leica camera. A vast improvement over the earlier hand-held camera André Kertész once used, the Leica allowed the photographer to assume the role of the flaneur, easily moving among the crowds of Parisians on the street and in the cafes. His easy mobility allowed André Kertész to photograph on a whim, capturing odd angles and a decidedly modern sense of chance. At this time, others recognized André Kertész's brilliance and his photographs were included in various exhibitions and several were already in the permanent collections of museums in Germany.

By the late 1930's, André Kertész moved to New York where he freelanced as a photojournalist for several magazines including Vogue, House and Garden, and Harper's Bazaar. When World War II broke out, André Kertész was forced to register as a resident alien and was restricted from taking photographs on the street. During this time, André Kertész attempted to enter the New York art world only to be spurned by dealers and curators who had difficulty accepting his style. André Kertész worked for Condé Nast publications from 1947 to 1964, photographing interiors for design magazines, but continued his own artistic pursuits. After 1964, André Kertész devoted himself entirely to his art, and his American recognition finally came in the form of exhibitions and publications. His work from this later period reflects a feeling of distance possessed by André Kertész. Often he would photograph scenes in Washington Square Park from the balcony of his apartment, producing elegant compositions of branches and people strolling. André Kertész remained in New York City until his death in 1985.

The photographs of André Kertész are included in museums worldwide and every major collection. He received awards such as a Guggenheim fellowship and the Medal of the City of Paris. André Kertész's work remains as a testament to his genius as a photographer and his status as the father of modern photography.

Bergamot Station, 2525 Michigan Ave., Gallery A7, Santa Monica, CA 90404

January 6, 2000

Double Space Curated by A.S. Bessa at Apex Art


Double Space

Curated by A.S. Bessa


With Art Works by L.A. Angelmaker - Devon Dikeou - Kenneth Goldsmith - Jorge Pardo - Alain Resnais - Alain Robbe-Grillet - Fred Sandback - Carolee Schneemann - Lily van der Stokker

In writing, the expression “double space” is used to define the maximum standard distance between two lines in a text. Poetically, though, the term is rich in ambiguities due to the intrinsic power of the words “double” and “space.”

The exhibition Double Space will explore the ideas related to space in text, the architectural properties of writing, and the concept of text as a construction.

The notion of an architectural approach to writing, which was arguably initiated by Stéphane Mallarmé in the nineteenth century, is at the core of Martin Heidegger’s speculations on language; it informed the concrete poetry movement of the 1950s and more recently has been the material of deconstruction itself (e.g Peter Eisenmann and Jacques Derrida’s collaboration in the Parc de la Villette, in Paris). Theorists have written about the relationship between writing and architecture, the artists featured in this exhibition put it into practice.

A brochure containing an essay by A.S. Bessa will be available free of charge.


APEX ART Curatorial Program
January 6 - February 5, 2000