Another exhibition we went to. This one was in The Photographers Gallery in London where they had several collections showcased that time. One was, what we went to see, the Deutche Borse Photography Prize 2013 and the other one was a selection of photographs by Clare Aho (image above and below).

The actual picture that I came for was an image by Cristina de Middel. De Middel draws inspiration from 1964's Zambia and a space programme they were introducing. The selection of images is comprised of photography fictionally illustrating the facts found in newspapers from 1964 and photographs of the newspaper articles and letters from the time of the alleged space programme of Zambia. 
The photograph on the left was my favourite.

The Astronaut walking up the hill.

It is my favourite for many reasons: I love pictures that portray calmness, and especially if they are set in the nature. (it is very similar in that sense to another photograph I bought in Stockholm's photographers gallery); but I also love the weirdness of the astronaut's outfit: it is just a childish creation,  something that I would call "takolmany' in Hungarian: 

Wellies with a fish tank and picnic basket. 

I love the contrast of the idea of the person's thinking and the setting. 
I see a wannabe astronaut, a person trying too hard, but I also see the calmness of the nature with the freedom of this person. It all just makes me feel relaxed, longing for the freedom of the weird and careless.

 If you have the time and you are in London, go and visit this show and make sure you read what the articles and the letters say:
"They are all trying to capture Matha, and my cats. They want our space secrets."
Of course I had to take a picture of a flying cat in the spacesuit.

One other photographer's work caught my eye: Mishka Henner.




I am no art expert, that is why I love when I get to experience exhibitions or gallery collections with a professional, like a lecturer from Christie's London. I went to Phillip de Pury's preview of photography auction last night.

We bumped into Bambi's friend, Giovanni Gasparini, lecturer at Christie's, who led me around most parts of the showcase explaining all sorts of interesting facts about photographers and photography in general.

Such as when photographers limit the print number of their negatives, it is called editing. Some photographers choose to commit to edit their series to a certain number of copies, obviously making  each existing copy more valuable by this; but some photographers, generally the classics, don't commit to editing, because it is fairly a new term/trend to do so, these images will not go for more then a few £thousands. When it comes to the value of these pictures, other facts are considered like when was it printed? All copies can be printed when the photo is made or or over a period of many years.  The photographer will also either choose to keep the negative or destroy it. Keeping it doesn't mean they will ever re print later if they have already committed to a limited number of copies. Copies are signed, numbered and dated.

H&M bomber &skirt | M&S top  | ZARA shoes & sandals | PRIMARK necklace | &OTHER STORIES sunnies

 I have also learnt about the some of the photographers exhibited. Like the following here, that I loved and suddenly reminded me of one of my fave fashion editorials: Re-fashion destruction by Theo Wenner for Purple Magazine ss13. The photographer here is Gregory Crewdson, whose photographs portray suburban life but in a very dramatic way.

I liked many of the exhibited pictures, but this one stood out the most by Thomas Ruff, who gets his images from online and then makes them sort of, super pixelated. This picture was 1 of 3 copies and the artist's proof.

 Thomas Ruff, jpeg vs01, 2004

 Marc Quinn, Untitled, 2009

 David Lachapelle, Gisele: All American, 2000; Pamela Anderson: Over Easy, 1998

Nick Brandt, Windswept Lion, 2002

 Harold Edgerton, Queen of Hearts playing card hit by a .30 calibre bu..., 1960s

Ernst Haas, Hollywood, California, 1965

Elliott Erwett, California kiss, 1955

 On the way

Massimo Vitali, Knokke #1535, 2002

With Jean-Marc Bustamante, T.8.01, 2001, another fave.
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