FUCK TABOO

Curated by Carlo Madesani

mercoledì 30 gennaio 2013 ore 18:30
31.01.2013 - 30.03.2013
martedì – venerdì dalle ore 15.00 alle ore 19.00 - sabato su appuntamento – domenica chiuso
Camera16, via Pisacane 16, Milano

Camera 16 è lieta di presentare una mostra che indaga l'identità omosessuale coniugata all'attività artistica presentandola attraverso molteplici prospettive: sia esistenziali che estetiche. La mostra, attraverso il lavoro degli artisti, si prefigge innanzitutto di svelare opere tra le più forti ed interessanti nell'ampio panorama internazionale affrontando l’argomento per fornire suggestioni e punti di riflessione di critica sociale derivanti dalla poetica e dalla visione personale degli autori che raccontano, ciascuno a proprio modo, pensieri, osservazioni, sentimenti sul concetto. Immagini che possono risultare inquietanti ed eccessivamente crude, respingenti, appositamente esposte, senza provocazione ne malizia, per evidenziare lo stato di fatto sull’iconografia omosessuale e provocare una riflessione, una conoscenza, che induca a cambiare almeno di un poco l’idea di un mondo spesso nascosto, conosciuto solo da chi ve ne fa parte. Le opere esposte raccontano un’interpretazione del tutto soggettiva, senza alcuna discriminazione in termini di atteggiamenti, scelte tecniche o artistiche. Ne emerge un lessico visivo corposo, sorprendente e variegato, a suo modo audace ed inusuale, con forti attinenze alla storia dell'arte, al cinema, ma con chiari suggerimenti alla sessualità, pubblica e privata, che condiziona e scandisce il nostro vivere. Artisti: Gianpaolo Barbieri, Jacopo Benassi, Lisetta Carmi, Larry Clark, Lovett/Codagnone, Marta Dell'angelo, Neal Fox, Daniele Galliano, Fausto Gilberti, Paolo Gonzato, Kenny Kenny, Kings, Nicola Guiducci, Ren Hang, Noritoshi Hirakawa, Bruce LaBruce, Federico Luger, Sergio Messina, Yasumasa Morimura, Zanele Muholi, Fabio Paleari, Nicola Ruben, Giuseppe Stampone, Wolfgang Tillmans. Special thanks to Federica Perazzoli, Daniele Innamorato, Pasquale Leccese, Anna Musini e Marco Tagliafierro.

FUCK TABOO

Claudia Grassl Angelika Sher

Curated by Elena Abbiatici and Carlo Madesani

15 November 2012 at 6.30pm
16.11.2012 - 22.12.2012
tuesday - saturday / 3.00 pm - 7.00 pm
Camera16, via Pisacane 16, Milano

Camera 16 is glad to present the double solo-exhibition of Claudia Grassl (Munich, 1975) and Angelika Sher (Vilnius, 1969), both photographers. In “Young Americans” the German photographer portrays the apparently ordinary lives of some female young adults, in the background the peaceful detached houses of American small towns. Claudia Grassl plays with the world of the female teen-agers and sets them into a different reality where nothing corresponds to truth. The stereotypes commonly associated with youth are overturned into graceful poses, enigmatic and seducing but at the same time irreal and dramatic, in this way catching the trouble of youth turning to adulthood. The portraits lead the observer to a disquieting and detached illusion, the same attitude with which Angelika Sher investigates in “Twilight Sleep” her own teen-age memories after she had faced their objective reality in “Thirteen” through simpering family portraits shot after a careful and non spontaneous planning of the set. Rich in symbolical meaning where objects seem to shift to their dream and hypnotic significance, Angelika’s photography is faithful to the realistic style of flamish painting with its light and shade, a recurring feature of the Lithuanian artist.

Claudia Grassl Angelika Sher

Fashionality

Curated by Carlo Madesani and Francesca Spiller

13th September 2012 at 6.30 pm
14.09.2012 - 27.10.2012
tuesday - saturday / 3.00 pm - 7.00 pm
Camera16, via Pisacane 16, Milano

Fashionality is an exhibition, but first of all a research project, which aims to expand our usual narrow definition of fashion photography by opening it up to a wider range of images of personal style. Although the final purpose of fashion photography is to promote high-end style and beauty products, the works produced within this context, by its nature strongly commercial, often emerge as some of the most inspiring and interesting pictures in the international panorama of fine art photography. Fashion photography becomes a contemporary and versatile tool, perfect for representing thoughts, observations and comments on lifestyles, sentiments and emotions, lucid social criticism and aesthetic ideals. With no boundaries in terms of attitudes, artistic choices, techniques or processes, these photographers explore the current fashion imagery as a celebration of individuality, personal identity and self-expression. If they learned the lesson of the great masters who came before them, both on the intellectual and iconographic level, they look outside of the fence of fashion photography for inspiration. Some of the photographers in the exhibition are not commonly associated with fashion, however none of their photographs would look out of place in a fashion magazine. What emerges is a dense, surprising, diverse and innovative visual language, rich of references to art history, literature, digital media, but also to the street culture, sexuality and daily life. Fashionality, curated by Francesca Spiller and Carlo Madesani, presents images of significance by young photographers which seen together, may highlight the status of fashion contemporary photography. Photographers: Andrea Artemisio, Olga Cafiero, Luca De Santis, Les belles croix, Márton Perlaki, ScanderebechArt, Brea Souders

Fashionality

Alberto Garcìa Alix

Curated by Carlo Madesani

Tuesday 05 June 2012. 6.30 pm
06.06.2012 - 27.07.2012
Monday-Friday 3.00 pm - 7.00 pm
Camera16, via Pisacane 16, Milano

Camera16 Milan (via Pisacane 16) will present the work of one of the most important European contemporary photographer Alberto Garcìa Alix, on show from 6th June to 27th July. Born in Spain, Alberto Garcìa Alix has lived throughout all the Movida Madrilena, the social and art movement born in Madrid at the end of Francisco Franco’s dictatorship and lasted into the 80’s representing the dawn of a new generation, full of energy and freedom. Alberto Garcìa-Alix has been one of the most renowned artists on the international scene since the ‘90s. Awarded with the National Photography Prize in 1999, he exhibited on solo show at Les Rencontres Internationales (Arles,2007), at the Reina Sofia National Museum (Madrid,2008) and at the Moscow House of Photography (Moscow, 2009). The exhibition, curated by Carlo Madesani, shows 15 photos, new for Italy, telling about Alberto’s creative career through intimate flashes of himself, of his friends and acquaintances; the human landscape is interpreted by Garcìa –Alix in a very personal way, always pushing it to the limits of him and of his taking photographs. Alberto produces images of extreme realism, at times very harsh, where harshness is soothed with the elegant use of black and white. The way Alberto uses light and how he re-creates it in his dark room makes his work unique on the scenario of contemporary photography. In the last years the photographer has started a new research in his art. Famous for his portraits, Garcìa-Alix is now about creating his stories with the video: his way of looking at reality running along that he narrates with his photocamera. On the occasion, Camera 16 will show Alberto’s three recent videos De carne y hueso ( 40 min), Lo más cerca que estuve del paraíso (20 min), Un horizonte falso (10 min) with the tango avant-garde music by the Argentinian composer Daniel Melingo

Alberto Garcìa Alix

About Leigh Bowery

Curated by Carlo Madesani

9th February 6.30 pm
10.02.2012 - 14.04.2012
Tuesday- Saturday / 3.00pm- 7.00pm
Camera16, via Pisacane 16, Milano

Camera 16 contemporary art is pleased to present a double exhibition dedicated to two internationally famous photographers: Fergus Greer and Johnny Rozsa, who, with their shots, tell the legendary story of Leigh Bowery (1961-1994), undoubtedly one of the most controversial and avant-garde personalities of the 80's. “About Leigh Bowery” aims to be a photographic cross-section of the deeds of the artist, performer, fashion designer, aspiring pop star and object of art that Leigh Bowery has been. Though almost unknown in Italy, he has changed the visual language of fashion, and his personality influenced people like Lucian Freud, Boy George, Antony & the Johnsons and David LaChapelle, who all have shared and spread his avant-garde ideas. For his ability to change identity, Leigh Bowery can be considered as an authentic witness of the protest against standardization and conservatism, thus representing the uniqueness of every life that does not accept rules of conduct or appearance, in a pure new-romantic style, bringing out the individual with the expressive freedom of genius. Bowery offers himself in an image that - in a transgender vision - goes beyond the separation of masculine and feminine appearances and behaviour by means of the body and clothes, originating new concepts of glamour and beauty. Leigh Bowery is one of the most extreme interpreters of the historical context he lives in: the one of the abolition of every limitation in favour of complete experimentation and contamination among the languages of music, art, fashion and design. It is the decade of Margaret Thatcher (1979-1990), the birth of MTV (1981), the fall of the Berlin wall (1989), the release of Like a Virgin (1984) and other music hits like Thriller (1982). Moreover, with tv, and especially with the promotional use of music videos, visual impact becomes essential for every artist willing to enter the commercial circuit. Fergus Greer and Johnny Rozsa met Bowery and collaborated with him from 1986 to 1994, when he passed away because of HIV. Through a series of portraits, both photographers give to those who could not meet him a real visual guide of Leigh Bowery and all he created with his own image. Johnny Rozsa collaborates with Bowery in a photo shooting for the creation of Christmas Card. With an unusually emotional view for a fashion photographer, Rozsa depicts Bowery's genuine transformism, which sacrifices the wearability of the dress in favour of the show. As well as actively collaborating with him, Fergus Greer is also a dear friend of Bowery's: he released the “Leigh Bowery Looks” book, with previously unreleased photos. It is exactly with this visual account that the more intimate acquaintance between the two emerges. Greer captures al the profound and hard work that Bowery carries on around his body. “I try to have the best possible image thanks to my individuality and expressiveness”. (Leigh Bowery)

About Leigh Bowery

Mauro D'Agati. Alamar

Curated by Carlo Madesani

16th November h. 6.30 p.m
17.11.2011 - 28.01.2012
Tuesday-Saturday from 3.00 p.m to 7.00 p.m
Camera16, via Pisacane 16, Milano

Alamar is a working class discrict. It spreads to east of Havana. The town was thought in a new area by the working class who lived there around the 70’es and it was built as a “model town”: a project of a communist family in the future. Just ten years later this “utopia” failed. Now Alamar is an expression of deaft , a set between reality and dream. Mauro D’Agati (Palermo 1968) takes a look on this urban blight, very far from the idea of people have of Cuba. His research is mostly anthropological, he prefers more details and a pursuit of something more complicated like religion and culture. The sites represented aren’t far from those of other suburbs in the world where every day people struggle to survive because they live in extreme poverty and the difficulty of entering in economic system. Nobody can understand and explain why Alamar stopped to be avanguard and it degenerated in the chaos. Alamar and also Cuba aren’t more symbols of the socialist ideology but places where the “uncertainty” has erased the possibility of changement developing in a habit. The photographiesof Mauro D’Agati testify and tell a real present, a virtual past and a spectral future. However, Alamar doesn’t lose its special spirit because it isn’t crystallized in its utopia and it represents an only moment in the history of Cuba. “His camera has immediately become an extension of his senses thanks to a detached sensibility that it concurred to see, to smell, to feel, to listen to people, places, parks and roads, threes, animals and subjects. Full images of senses and colours are emerged from organic integration between machines and life,aesthetic and life. They’re not used in order to hide or to embellish here the truth, but for mitigate an excess of realism that it would scarry us.”

Mauro D'Agati. Alamar

Wendy Bevan. The Cut of the Light

Curated by Carlo Madesani

15th September h. 6.30 p.m.
15.09.2011 - 29.10.2011
opening hours: Tuesday - Saturday 3.00 p.m. – 7.00 p.m.
Camera16, via Pisacane 16, Milano

On first looking at Bevan’s photography, there’s a sense of gravitas and maturity that belies the artist’s youthfulness and fashion-orientated background. The rich poetry of her work creates a romantic atmosphere that throws us in to another era, it draws us into a world of ambiguity and unconfortable narratives. Bevan is known for her surreal aesthetic, and a tender, sympathetic portrayal of the feminine form – a refreshing alternative to the glossy, digitally manipulated imagery that proliferates today. The haunting women in the images are often captured in moods vacillating from what appears to be serenity and calm; to deep melancoly and near-madness; these women appear to be influenced by a vision of the past, of which now a thin painterly light surrounds the subject, and filters the maze of emotions which Bevan so clearly examines. Harking back to a golden age of silent films, Bevan’s pictures feature femmes fatales. In her recent exhibition, The Pain of Desire, in London; Bevan examined how an idealised concept of female beauty and success can cause pain and suffering. The photographs are both brutal and beautiful and in a variety of contorted and anguished poses, celebrate the form of the female nude, but with undertones of madness, self inflicted violence and claustrophobia. A selection of these works are also shown at Camera 16 in ‘The Cut of The Light’. Bevan is a London based artist and pursues a multi-disciplinary approach to her work, as a photographer, musician, and performer. Born in 1983 in the North of England, Wendy grew up in Suffolk and North Yorkshire before moving to London at 18 to study photography. Graduating from college in 2004, she soon started her professional career. Collaborating with many major publications, she is known for her work in the fashion industry and is regularly commissioned as a fashion photographer for leading publications around the world. Wendy’s first editorial commission came from I-D magazine. She has since worked as a fashion photographer for leading publications around the world, including: Russian Vogue, Italian Vogue Sposa, Italian Marie Claire, Harper’s Bazaar, Muse, Financial Times: How To Spend It, The Independent,10 Magazine, Stiletto and POP Magazine. Wendy’s career as a fashion photographer gave her a platform to develop her identity visually as a photographer, and explore her passion for creating characters; working with some of the top fashion stylists, models and hair and make-up artists in the industry. Although best known as a photographer, Wendy has always pursued a multi-disciplinary approach to her artistry. The theatre, music and performance have always been a central part of her artistic oeuvre. Wendy has performed at many leading venues and events, including: ICA, the Hackney Empire and the Edinburgh Festival. She has also worked with a variety of top theatre companies as a performer, such as Punch Drunk. Her band Temper Temper’s epic sound fuses muscular, glittering blues with old, dusty jazz, drawing hints of artists such as Antony and the Johnsons, Tom Waits and Meredith Monk. Bevan’s otherworldly vocal performance was recently credited as “Tragic, and hauntingly beautiful” by Vogue.com. Her assumed character, as the lead vocalist in the band, will often physically respond to the photographic images she creates, and the emotions they portray. Temper Temper provided the soundtrack to her most recent London based exhibition ’The Pain of Desire’. ‘The Cut of the Light’ explores a selection of Bevan’s photography work bringing together fully her fashion, still life, personal work and a series from a wider body of work that explores a reoccurring theme; the Circus. The theatrical, dramatic images in the show, are painterly in their style. Bevan’s beautiful yet disquieting works are captured on Polaroid, and then hand printed. She often displays a selection of the pictures in antique frames, which she sources herself, and which become an extension of the artwork. ‘Her hauntingly brilliant photographic works send a shiver to the core’ and reflect the brutal, cutting, dark side of desire.’

Wendy Bevan. The Cut of the Light

Edgar Martins. This is not a House

Curated by Serena Zacheo and Carlo Madesani

opening: Thursday 9th June h. 6.30 p.m.
09.06.2011 - 23.07.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

The subprime mortgage crisis, which has its roots in the closing years of the 20th century, became apparent in 2007. The crisis exposed pervasive weaknesses, as well as deep-rooted inequalities, within financial industry regulation and the global financial system. In the winter of 2008, Edgar Martins produced a series of photographs related to the collapse of the US housing market. He photographed abandoned homes, golf courses, ski resorts, hotels and other building projects in sixteen locations across six separate States. His interest lay in catalysing and reuniting fresh experiences of a new form of architecture by summoning a disquieting conjunction of realism and fiction. And fiction, as the writer Jacques Ranciére states is elementary to understanding the real. This Is Not A House formed part of an assignment for the New York Times Magazine. The work became the focus of a heated debate due to Martins’ decision to digitally reshape a select few images. Described as ‘arguably one of the most poignant pieces of work produced by a photographic artist in recent years, not only because of the relevance of it’s theme, but because of the way it propels us to reevaluate our understanding of photography and its fragile and difficult relationship with the real’, the series proposes new models for re-conceiving and conceptualizing a particularly contemporary phenomenon and landscape. It also remains a poignant reminder of the financial ruin and bankruptcy that struck the lives of many thousands of ordinary people. Internationally recognised, Edgar Martins has received many awards for his work including the prestigious BES Photo Prize (Portugal), the inaugural New York Photography Award (Fine Art Category) in May 2008, the Terry O’Neil Award, and a Jerwood Photography Prize. More recently he was awarded a SONY World Photography Award as well as 1st Prize at the International Photography Awards (Fine Art Abstract Category). He has exhibited extensively throughout Europe and the United States in institutions such as PS1 MoMA, Belém Cultural Centre, the V&A, etc. Forthcoming exhibitions include a solo show at Museuda Electricidade (Lisbon) and a touring show of This Is Not A House which is scheduled to show at The New Art Gallery, Walsall and at The Wapping Project, London, amongst other venues. Edgar Martins was selected to represent Macau (China) at the 54th edition of the Venice Biennale.

Edgar Martins. This is not a House

KOKORO

Curated by Serena Zacheo, Enzo Dal Verme e Carlo Madesani

opening 26th May 2011
26.05.2011 - 28.05.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

A due mesi dalla catastrofe naturale che ha colpito il Giappone, Camera16 propone una iniziativa benefica a sostegno delle vittime. Ottanta fotografi hanno donato un’immagine per dare vita alla mostra fotografica KOKORO (in Giapponese significa cuore). Tutte le opere (di autori conosciuti o emergenti) saranno in vendita al prezzo simbolico di 50 euro ciascuna. Chi lo desidera potrà aggiungere una donazione extra. Il ricavato sarà interamente devoluto in beneficenza tramite il conto speciale attivato dal Consolato Generale del Giappone a Milano. Fotografi in mostra: Francesco Acerbis, Luciano Allione, Antonio Amendola, Erminio Annunzi, Domitilla Asquer, Maria Vittoria Backhaus, Carlo Baraldi, Fabio Barile, Alessandro Barteletti, Settimio Benedusi, Nicola Bertasi, Giovanni Bortolani, Paolo Cagnacci, Alessandra Capodacqua, Luca Cepparo, Teresa Carreno, Micaela Ceresa, Andrea Chiabai, Paolo Chiurco, Annalisa Cimmino, Nicoletta Cotechini, Enzo Dal Verme, Marco Dapino, Giovanni De Francesco, Edoardo Delille, Arianna De Micheli, Nicola De Molli Crivelli, Gianuca Destro, Federica Di Giovanni, Alessandra Dragoni, Linda Ferrari, Massimo Festi, Nanni Fontana, Flavio e Frank, Maurizio Frullani, Alessandro Furchino, Luigi Gattinara, Sivio Ghiani, Davide Grossi, Edoardo Hahn, Giovanni Hanninen, Isabel Lima, Gabriele Lopez, Massimo Lovati, Antonella Macis, Alan Maglio, Manuel Marano, Antonio Marcello, Fabrizio Marchesi, Malena Mazza, Rohn Meijer, Andrea Messana, Oriella Montin, Francesca Moscheni, Melina Mulas, Filippo Mutani, Takehiko Niki, Yoshie Nishikawa, Luca Nizzoli Toetti, Paolo Nobile, Giorgio Palmera, Fabiano Parisi, Luca Pedrotti, Daniele Pezzoli, Mina Poostdooz, Efrem Raimondi, Francesca Randi, Baerbel Reinhard, Sebastiano Rossi, Andrea Ruggeri, Stefano Ruzzante, Antonio Saba, Paolo Sacchi, Paola Salvioni Martini, Antonino Savojardo, Emiliano Scatarzi, Matilde Soligno, Stylaz, Giuseppe Toscano, Margherita Verdi, Marco Viganò, Massimo S.Volontè, Agnès Weber, Robert Zimmerman, Gabriele Zucca. Un ringraziamento particolare a Shades International per la sponsorizzazione tecnica. KOKORO è stata organizzata con l’aiuto di: Associazione Culturale Giappone In Italia, Associazione Nazionale Fotografi Professionisti Tau Visual, Tommaso Basilio, cpf Bauer, Emanuele Beluffi, Sara Cervo, Franco Fino, FotografiSenzaFrontiere-onlus, Fondazione Studio Marangoni, Andrea Mineo, Photogalleria, Photographers Pro, Giorgio Repossi, Arianna Rinaldo, Shoot 4 Change, Ilenia Zane, Zoom. Per visionare le immagini degli artisti che hanno aderito all’iniziativa clicca qui.

KOKORO

Nino Migliori.The Seduction of Traces

Curated by Carlo Madesani

14th April - 6.30 p.m.
14.04.2011 - 28.05.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Nino Migliori (Bologna, 1926) is a great Italian photographer with a great personality and great artistic versatility: curious optimistic, very careful observer and great investigator, he is one of few photographers to be able to shift the focus of our usual perceptions. Generous and free men, endowed with instantaneous luminosity, he is attracted from all that is new, with an irresistible penchant for all that is experimental, Migliori was able to sublimate his work, continually changing his line of research and preserving an high qualitative stringency, remodernizing during the years themes or techniques already been tried. His investigations, since the late '40s, range from realistic images of everyday life (see the famous 'Tuffatore'), to the photography's language analysis (oxidation, pirogramma, hydrograph, frame ...), to the investigation about witnesses left on the walls and then he has continued with other techniques invented by himself. At Camera16 a wide selection dedicated to Migliori's path about oxidations from the first, rare and preciouse of 1948, to the subsequent of '80s and 1996, to the least 2010 new series. The oxidation's work draws a summary cross on Migliori's photographic narrative. They are all unique pieces, OFFCAMERA work of irresistible charm. The historicals photos are conceptual and abstract, figurative and delicate the recent ones. Also on display a POLAORO selection, unique exemplars on the landscape theme, the polaroid's interpretation that Migliori twists and personalizes by hand, pressing on the paper with a specific tip in the development phase, and then subsequently developing and resting on a delicate gold leaf to enhance and to enrich holes and gashes of his interventions. The remain soul, the paper on the polaroid back, becomes itself an opera, a SINOP, a double soul of the same image made itself a precious unicum. The exhibition is completed with 'Tempo rallentato' works , a portraits of fruits and vegetables enclosed in glass jars, to witness how nature can be the most valuable form of art, with its colors and its breathtaking overall views. Nino Migliori (Bologna, 1926) began photographing in 1948. He exhibited in the most important international museums around the world, GAM Turin,Contemporary Art Museum L. Pecci, Museum of Fine Arts Houston, Art Biennale Venice; his works are collected in prestigious public and private collections: MAMBO Bologna, Galleria d'Arte Moderna Rome, New York MOMA, MNAC Barcelona, Museum of Fine Arts Boston and many others. In occasion of the exhibition will be pubblished the catalogue 'Nino Migliori. The Seduction of Traces' with Lucia Miodini text.

Nino Migliori.The Seduction of Traces

Sandy Kim-Anthony Maule.Destroyed Perfection

Curated by Sabrina Querci and Carlo Madesani

24th February - 6.30 p.m.
24.02.2011 - 09.04.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Camera16 contemporary art is glad to announce the double solo exhibition of two young photographers: Sandy Kim and Anthony Maule. The selection aims at discovering fresh talents, new and young, two up and coming photography talents that deserve your attention. Sandy Kim (USA, 1985) tells a visual story by the images from her diary, dishinibited shots of daily life, lightly taken with extreme freedom and easiness bordering on transgression to testimony to today's young people world. Loved by the American critics, selected by Ryan McGinley as 2010 best photographer, Kim tells about the lifestyle of her generation with neither illusions or inhibitions (like Harmony Korine and Catherine Hardwicke had already done in Thirteen), about a fast and shameless world made of dangerous shadows, drugs, smoke, alcohol, sex, swearwords, self-injuring, impudent text-messages where desires, even the most intimate, are published, shared and commented on the net. In a world, where the future is more and more unsure, where the fax is regarded to belong to prehistory and the referring points are the last iPhone model or iPad, intimacy does not know anymore boundaries, you go in and out other people's or your own diaries, with extreme lightness and easiness. You live freely in the present but without social protest and without strong individual personalism. Kim's photos are a poetical hardcore reportage of her private underground, a celebration of every-day life with no taboos and no feelings of guilt, but with an impudent and shameless provocative sense in a splatter taste without tricks and frills. We are at the bone of formalism: "FUCK ME", "CUM IN MY FACE" "EAT ME" "ASS SNIFFER" are the very vocabulary of the scenario depicted by Kim in her photos on show for the first time in Europe at the Camera16 Contemporary Art, Milan. Sandy Kim has been reviewed on many art and fashion blogs, her pictures published in Dazed & Confused and acknowledged among "The best of 2010". Anthony Maule (England, 1974) is a young and successful English fashion photographer that, through the glossy pages of Numero', Dazed & Confused, Vogue Acne Paper and many more cult magazines, shows us his static and robotic idea of flawless beauty; images of maniacally perfect figures, algid, detached. They are replicants with no blood in their veins, dummies systematically and intentionally set far away from reality and every-day life. These god-like entities, staring at us from the unreachable galaxy of fashion photography, stimulated Anthony to produce a new art work, exclusively for Camera16, Milan, where the images go back to Earth, the subjects are distorted and trasformed, they came back to life, bridging the gap through Anthony's physical intervention and destruction of the images themselves. Maule intends to act and to feel, to destroy the perfection created in his fashion photos in order to go back to something primitive. By action painting, scratching, graffity, marks, rips, cuts, he lets his divine creatures, Joan Collins among them, change inside more personal works, more intimate, full of strength, rage and passion and he succeeds in making them closer to us and more reachable.

Sandy Kim-Anthony Maule.Destroyed Perfection

Jason Oddy.Within

Curated by Serena Zacheo and Carlo Madesani

13th January h. 6.30 p.m.
13.01.2011 - 19.02.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Jason Oddy's (London, 1967) first show at Camera16 is a meditation on architectural space. At first sight many of the empty places he photographs appear anonymous. Rooms like any others. But within the walls, ceilings and floors his camera repeatedly depicts lie diverse and surprising histories. Soviet sanatoria, the United Nations headquarters in New York and Geneva, abandoned hospitals, the homes of the recently deceased, London's largest morgue. As sites where power or ideologies or personal stories or just some strange sort of logic have collected, they belie the detached treatment of Oddy's lens. A juxtaposition which highlights the traces of human presence that mark each and every one of these images. Likewise Oddy's precise attention to framing seems an attempt to tease out the way architectural space might operate upon us. Suggesting that the real subject of his work is not so much the spaces themselves as it is our relationship to architectural space. A thing so ubiquitous, so deep-seated, that we hardly notice it. Inhabiting us just as we inhabit it. Perhaps it is in the details that we begin to see how it functions. The vanishing point of a corridor. An overdetermined colour scheme. The chance angle of a pair of folding doors. Of course such things normally pass unnoticed. Born surrounded by architecture we are under its spell from the start. So much so that we take it for nature. And beholding it forget not just that it beheld us first, but that its gaze must also be far more constant, far more determining than our always changing point of view. To make this interaction between subject and space visible is no easy task. Yet working with a slow-moving 5x4 plate camera, Oddy shows how photography is uniquely positioned to do so. Creating a document we can meditate on. So that the photograph becomes not just a record of a momentary perspective, but can be an enactment of the effects of architecture too. In front of these works we see how the fugitive and subjectively experienced effects of space might achieve a veneer of objectivity, how they might inch towards the threshold of perception. Perhaps they let us apprehend the operations of an architecture that never ceases to work on us. An architecture so primordially engrained in us that its structure is our structure. At once apparent and invisible in these hermetic interiors, their horizons endlessly bounded, sending us back reflection after reflection of ourselves. Oddy's work has been exhibited widely in both Europe and the USA and is held in a number of significant collections including the Wellcome Foundation, the Elton John collection, Channel 4, Citibank Private Bank, DZ Bank, the University of Hertfordshire and the Michael Wilson collection.

Jason Oddy.Within

Lisetta Carmi Luciano D'Alessandro Mario Dondero.Borderline

Curated by Carlo Madesani

11st November - 6.30 p.m.
11.11.2010 - 08.01.2011
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Talking about Lisetta Carmi, Luciano D'Alessandro and Mario Dondero it means talking about photography history , with an unusual and unconventional work, attentive to social issues. Their involved gaze is searching a question, through the documentation, that can transform the collective consciousness. Although they have strong and distinctive personality, very different, high energy, explosive and elegant, a lively curiosity and a keen sensitivity, the three photographers have in common a sense of solidarity, of belonging, feeling of participation in the first person with the courage of being in the forefront, in the trenches on the front of the hottest topics and issues. Lisetta Carmi (Genoa, 1924) was born to a Jewish family, and she lived the drama of racial laws that led her to escape and to become alienated from his peers, finding comfort only in the study of the piano that isolate herself completely. "I know what it means to be a victim, so I'm always on the side of victims ...". In the mid-'60s Genoa, the work on transvestites, the portraits of the poet Ezra Pound, the rhetoric of Staglieno's cemetery, the setting of Dante's Inferno where in the port of Genoa the ships unloaders work, the sequence of childbirth, they gave to her a central role in the history of photography. In 1965, Lisetta Carmi knew transvestites in the first prostitution "ghetto" for homosexuals in Italy and she began photographing them, becoming a very close friends and portraying them in every moment of their life. "I was looking for the truth of the people, the truth of people's lives" "A person is always looking for the truth, always, until it has the strenght to live and untill it has the strenght to search...the soul is always traveling, always,it never stops ... " Luciano D'Alessandro (Naples, 1933), son of a unionist and strongly anti-fascist, began, in a very young age, the road of photojournalist, working with major national and International newspaper, in an endless research, through policy education, that has centered on the human condition. In Naples, city of unemployment and protest, D'Alessandro's work, "Inside the houses" of the various social classes, in the streets and clubs of "his" Capri, finds its best in the world of the Excluded, a 1966 survey on the condition of the mentally ills in the psychiatric hospital of Nocera Inferiore. The images reveal a boundless human loneliness, vacuum and abandonment of people living in the real human deposits, suffering the futility of passing time. Mario Dondero (Milan, 1928) born in a middle class family but partisan at a very young age, realized, in his numerous reportages around the world, countless photographs depicting international events, reports that force to reflect on the great events, on the harshness of everyday life, and portraits of great artists, writers and politicians: his photos tell facts, they show the truth in a social documentation with a "of the Left" view and with the simplicity that "... it is the result of a process more that a start. And then a person must not lose sight of the truth. I annoy the artificials. I do not mean an absolute truth. What I mean is that, despite everything, there is a 'authenticity' that the photographer can returns. But we must be loyal, honest, generous." In his pictures there is a sense of deep humanity, they maintain in themselves all the truth of life, all the richness and the nuances of lived experiences. No photographer is able to determine, in the moment of the shot, the image will be successful and which not. "Taking pictures, we work for the history, even the most minute and seemingly insignificant history".

Lisetta Carmi Luciano D'Alessandro Mario Dondero.Borderline

Indre Serpytyte. Still Silence

Curated by Carlo Madesani

17th September 2010 - 6.30 p.m.
17.09.2010 - 06.11.2010
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Indre Serpytyte (Lithuania, 1983) talks to our visual senses of the distant, cold and silent past and only those who have lived through can know. The reality of those years, the time of the Cold war, have touched the artist in a very personal way. The series A state of Silence pays tribute to her father, Albinas Serpytis, the head of the government security, who died in suspicious circumstances in a car accident in the early hours of October 13th 2001. There was no official enquiry or investigation into the circumstances of his death and no answers to the many questions being asked. The suspicion remains that the death was brutal and intentional. But all that now lingers is an increasingly faded memory, a state of silence within the State of silence. The objects of bureaucracy: a hat, shirts, paper, a silenced phone are immortalised in the photographs. Memories of the harrasing cold war, oppressive and insidious that continued for 50 years to condition and destroy the lives of millions of people. The artist has began a search of the past into the lives of victims cataloged and controlled by the Soviet forces. They focused on arrest and interment whithin secret prisons across Lithuania. it's in everyday life that the inhumane side of every conflict finds vent. By carrying out interrogations, imprisoment and torture in these everyday spaces the KGB officers converted them into places of terror. After extensive research for the series (1944-1991) Former NKVD - MVD - MGB - KGB Buildings, the artist retrieved the archival images of these buildings, revisited and re-photographed them, only to find that time had erased all the traces of their terrible history. Her solution came from using the Lithuanian tradition of wood carving in order to recreate these buildings through a local artisan. Through these sculptures the artist makes the invisible once more visible. Whilst the houses became the places of terror the forest provided the place of refuge and sanctuary for the freedom fighters. The series Forest brothers depicts the refuge of partisans, who in 1945 to 1956 formed small armed resistance groups and with the help of Lithuanian peasants continued a bitter and heroic guerrilla resistance movement against the Russian occupying forces. The forest acted as natural walls beyond which they found freedom and now the images of them stand as monuments to the absence of memory and to silence that remains undisturbed.

Indre Serpytyte. Still Silence

Various Artists.Stories in 3 shots

Curated by Eva Zamboni and Carlo Madesani

opening Tuesday 22nd June h. 6.30 p.m.
22.06.2010 - 15.09.2010
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Currently Italy doesn't have a market nor a cultural milieu dedicated to the art of reportage. Beyond selected awards, some of them more prestigious than others, still reportage suffer of the old stigma of been the-outsider-of-the-art-world. But in a society in which the information provided by the media passes more and more through images, it is important to re-define the role of photography. A role suspended between reproduction and representation of reality, which reinforce a single concept: photojournalism is undoubtedly art. The strength of this art is in the essentiality of an image worth a thousand words. The value of the work is given by the photographer's ability to narrate directly through the eye, reaching into the viewer's heart. It is an art made of long waits and silences, anticipating the moment were even the most obvious subject becomes an icon of a sublime experience. Here is the click, here is human touch, here is the image, here is the work of art. In constant displacement, drifted between stories, sounds, people and cities, being a photo-reporter is not a job but a life choice. Camera16 pays tribute to the glance on the world of Francesco Acerbis, Alfredo Bini, Massimiliano Clausi, Mauro D'Agati, Stefano De Luigi, Giulio Di Sturco, Marco Gualazzini, Pietro Masturzo, Mimi Mollica, Alessandro Vincenzi, contemporary artists, with three images each selected as summary of their entire production.

Various Artists.Stories in 3 shots

Massimo Listri.Under Construction

Curated by Carlo Madesani

5th may 2010 - 6.30 p.m.
05.05.2010 - 12.06.2010
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

The art works of Massimo Listri (Florence, 1953) are often focused on inside environments of great architectural importance, some open to the public, others not easily accessible, in which the history, the culture, the know-how of whole decades are layered. His curious, careful and revealing look has captured hidden architectures disclosing the soul of whole buildings: wunderkammern, ancient castles, villas and buildings, gardens, libraries and convents, monasteries and ancient universities. The central and frontal perspective of his photos involves the spectator in the silence of the rooms, in the magnificence of the constructions, in a mystical and surreal trip, bringing to memory known spaces but ever visited in reality. Listri's shots, examples of technical perfection and formal rigor, testify his own personal aspiration to capture and to exalt the beauty, even where it doesn't apparently seem to be present, and the desire to understand and to disclose the secrets of each human creation. The exhibition at Camera16 is focused on places Under Construction, in which the geometric perfection of the rooms contrasts and leaves space to the disorder of the moments of transition, construction's phases, of restauration or preparation, in which the dust, left by the man, ennobles instead of blurring colors, light and memory. The silence of the abandoned rooms, still unadorned, evokes movement and tension of an action still in progress in which you can already glimpse the perfection of the final result. Massimo Listri is considered one of the greatest photographers of interiors and architecture in the world. He collaborates with several magazines including "AD" and "FMR", of which in 1981 has been one of the founders together with Vittorio Sgarbi. He has published from the first Eighty around 50 books and has exhibited in several public institutions with important personal shows: Palazzo Reale, Milan (2008) and Palazzo Pitti, Florence (2009).

Massimo Listri.Under Construction

Nigel Coates.Baroccabilly

Curated by Carlo Madesani

14th april 2010 - 6.30 p.m.
14.04.2010 - 20.04.2010
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Nigel Coates (Malvern, England, 1949) is set to make his mark in a spectacular fashion at Milan this year, and prove his consistent ability to gain the publicís attention with his engaging and highly expressive design. His strong connections with the Italian design world will translate into this important new show. As part of Fuori Salone 2010 new limited edition furniture and lighting pieces will be showcased in a one-person exhibition, Baroccabilly at the Galleria Camera16. In diverse ways all ten objects blend the†airy sense of movement of the baroque with the†untamed qualities of music culture. Behind all of them lies the spirit of the Baroccabilly, an existential rebel outsider who finds himself lost in Baudelaire's luxe-calme-volupte', and a type that looks for a shamanistic passion in the objects that surround him. Forms, textures, and colours switch roles to shape a beguiling installation that confirms Coates' storytelling design vocabulary. The Baroccabilly collection is made from luxury materials, is highly crafted, and is realised in collaboration with the historic Tuscan furniture company Poltronova in editions of twelve.Nigel Coates the distinguished architect and designer, and Head of Architecture at the Royal College of Art in London, is often described as one of Britainís most original architectural thinkers. He is continually involved in a wide variety of new design projects many of which are based in Italy. His designs, drawings and artworks are highly prized and are featured in private and public collections around the world.

Nigel Coates.Baroccabilly

Irina Ionesco.Unveiled dream

Curated by Carlo Madesani

1st march 2010 - 6.30 p.m.
01.03.2010 - 20.04.2010
tuesday - saturday 3.00 p.m. - 7.00 p.m.
Camera16, via Pisacane 16, Milano

Camera16 gallery inaugurates the exhibition space in Via Pisacane 16, presenting the early artistic works of Irina Ionesco (Paris, 1935), from the beginnings to the mid-seventies, with refined images of unique style, strong and elegant, to exhibit women's vanity in the natural purity. Women timeless are the only protagonists: girlfriends photographed in specially designed domestic interiors, theatrical environments, dreamlike and surreal, softened by the soft lighting and enriched by lace, feathers, flowers, velvet; women embellished with jewels, crowns, gloves ... and Eva, favorite subject, daughter, a source of inspiration and unveiled dreams. Through the shots, Irina tells a private world, intimate, sensual and innocent at the same time, a special and unique relationship between mother and daughter, the first one enclosed in the lens, the other immortalized in poses as an adult, in play moments, in fancy tales: the face and body of Eva , since she was 5, will accompany the whole artistic career of the photographer, former contortionist, French-Romanian. "Photography for me is something essentially poetic, I imagine it as a theatre's writing, where I fix, in obsessive and relentless development, all my ghosts”. On display, unique works with shots made from 1970 to 1976: 7 great works black and white, printed, in exclusive edition for Camera16, in special format 120 x 80 cm; a selection of 18 vintage black and white photographs, some unique works without negative or solarized being printed; 3 color photographs.

Irina Ionesco.Unveiled dream