Todd Hido is an American photographer known for his pictures of suburban landscapes taken during solitary, long drives. He also produced interior photos and portraits using a wide range of pros and amateur cameras. His style is summed up in one of his famous quotes “I shoot like a documentarian, but I print like a painter.”His photographs are in the permanent collections of the Getty, the Whitney Museum of Art, the Guggenheim Museum, New York amongst many more. We’ll discuss here about his creative process in general and under the lockdown as well as his experience with the situation. Moreover he Todd Hido will talk about his vision of photography and today’s society using the examples of Walker Evans or Dorothea Lange.
Agnès b. is a stylist who started her brand in the 70’s with subtle, chic and casual clothes ; timeless pieces like the snap cardigan that became a classic. With the success of her company she multiplied initiatives in the art world, opening an art gallery La Galerie du Jour, publishing art books, producing movies. She is also a philanthropist who supports artists but also many social causes (AIDS, Fondation Abbé Pierre, Tara…). Over the years, Agnès b. has assembled a major contemporary art collection now comprising nearly 5,000 pieces (Jean-Michel Basquiat, Warhol, Gilbert and George, Nan Goldin, Harmony Korine, Ryan McGinley…). She has opened her foundation La FAB (La Fondation Agnès b.) in 2020 that gathers together her art collection, la galerie du jour and la librairie du jour. Agnès b. is is constantly in touch with the international art scene, especially in the fields of the visual arts, cinema, music, live performance and publishing.
Rajendra Roy is the Chief Curator of Film at the MoMa, he worked on exhibitions such as Wim Wenders, Tim Burton, Bruce LaBruce, Mike Nichols, and was a jury member or in the selection committee of numerous festivals such as Sundance, SXSW and the Berlin film festival. The Museum of Modern Art’s Department of Film has one of the strongest international collections of motion pictures in the world, totaling more than 30,000 films between the permanent and study collections. (Films by artists like Fernand Léger, Man Ray, Marcel Duchamp, Andy Warhol.)
Iván Navarro évoque dans cette dernière partie sa passion d’adolescent pour les concerts clandestins qui à l’époque étaient à la fois l’expression de la liberté artistique et une réponse au pouvoir en place. L’artiste pousse sa passion de collectionneur de bootleg et de vinyls jusqu’à lancer son propre label, Hueso Records, sur lequel il signe un groupe emblématique de cette période, les Pinochet Boys. Il explique ensuite comment il a développé sa connaissance du Light Art au delà des images qu’il connaissait d’artistes comme Dan Flavin ou Keith Sonnier. Puis à quel point les voyages et sa découverte d’artistes tels que Meyer Vaisman ont pu élargir ses horizons et lui donner confiance en lui en tant qu’artiste.
Pour Iván Navarro, toute passion doit à un certain moment être abordée et approfondie sérieusement, c’est la clé pour en faire un art.
In this last part, Iván Navarro talks about his passion as a teenager for underground concerts which at the time were both an expression of artistic freedom and a response to the ruling power. The artist pushes his passion for bootleg and vinyl up to launch his own label, Hueso Records, on which he signs an emblematic group of this period, the Pinochet Boys. He then explains how he developed his knowledge of Light Art beyond the images he knew of artists like Dan Flavin or Keith Sonnier. Then how much traveling and discovering artists like Meyer Vaisman would broaden his horizons and give him self-confidence as an artist. For Iván Navarro, all passion must at some point be approached and deepened seriously, this is the key to making it an art.
Iván Navarro a passé son enfance et son adolescence sous la dictature chilienne à son apogée. Au cours de ces années, les Chiliens ont découvert que des personnes avaient été assassinées et torturées et ont commencé à protester contre le pouvoir en place. En réponse, pour maintenir l’ordre et contrôler la population, le gouvernement a créé des pannes d’électricité; plongeant les gens dans l’obscurité et l’insécurité. Navarro raconte comment il a vécu ces situations, et nous comprenons comment la lumière et la privation de lumière ont eu une influence majeure sur son travail. L’artiste parle également de deux de ses mentors: Eduardo Vilches, un ancien élève de Josef Albers, qui lui a enseigné la théorie des couleurs et Eugenio Dittborn dont il a appris à être un artiste professionnel en étant son assistant de studio. Son aventure artistique se poursuivra à New York où il fera ses premières expositions majeures après 7 ans de travail en temps que restaurateur de meubles anciens.
Iván Navarro spent his childhood and his teenage years under the Chilean dictatorship at its peak. During those years, Chileans discovered that people were murdered and tortured and began to protest against the power in place. In response, to maintain order and control the population, the government created blackouts ; plunging people into darkness and insecurity without electricity. Navarro tells how he dealt with those issues, and we understand how light and privation of light was a major influence on his work. The artist also speaks about two of his mentors : Eduardo Vilches, a former student of Josef Albers, who taught him theory of color and Eugenio Dittborn from whom he learned how to be a professional artist by being his studio assistant. His artistic adventure will continue in New York where he will make his first major exhibitions after 7 years of work as an antiques restorer.