Photography Center Of Thessaloniki participates to the First International Meeting of Photography Centres
in Almeria (Andalucia/Spain)
The primary aim of the First International Meeting of Photography Centres is to share knowledge and experiences among 20 photography centres from all over the world. The event, a pioneering project in Andalusia, Spain and the world, will be hosted by the Andalusian Centre of Photography, which belongs to the Andalusian Department of Culture (Junta de Andalucía).
Vassilis Karkatselis and Thanassis Raptis represent Photography Center Of Thessaloniki in the Meeting, which will be held in the Mediterranean city of Almería (Spain) on 30-31 May and 1 June 2008, at the Andalusian Photography Centre’s facilities and the Almería Museum.
Approaches: First International Meeting of Photography Centres, consisting in a photography exhibition and a publications exhibit, as well as a presentation of a publication of the same name will take place during the event. This parallel activity will remain open to the public at the Andalusian Centre of Photography until 13 July 2008.
Official languages will be Spanish and English. Simultaneous translation will be provided.
Australia (Australian Centre For Photography); Brasil (Instituto Moreira Salles); Canadá (Canadian Museum Of Contemporary Photography. National Gallery Of Canada); Colombia (Fotomuseo. Museo Nacional De La Fotografía De Colombia); Cuba (Fototeca De Cuba); Egypt (Contemporary Image Collective - Cic); Slovakia (Central European House Of Photography); España (Centro Andaluz De La Fotografía); France (Montpellier Photovision); Greece (Photography Center Of Thessaloniki); England (Photofusion); Israel (The Open Museum Of Photography Of Tel Hai); Líbano (Arab Image Foundation); México (Centro De La Imagen - Ciudad De México); Perú (Centro De La Imagen - Lima); Portugal (Museu Da Imagem); Russia (Moscow House Of Photography); South Africa (Bensusan Museum Of Photography. Museumafrica); Switzerland (Musée De L'elysée); Venezuela (Centro Nacional de La Fotografía De Venezuela).
The photographers selected to represent the Photography Centre of Thessaloniki
The photographers selected to represent the Photography Centre of Thessaloniki during the 1st Meeting of Photography Centres in Almera, have plenty of common characteristics and many differences.
The first condition was the transferability of the work; it couldn’t be an installation, or a massive work, but a flat work which could be transferred by the supervisor of the exhibition without the presence of its creator being necessary. Secondly, these works should show off the mood for play and pleasure which characterises the photographers working for the Photography Centre of Thessaloniki, to demonstrate the need for research and coexistence with the other side, and to display the non predominance or non adherence to one aspect of photography.
All of them are active members of a public debate in Greek society on the new form and the new content of photography. They are first line creators of what we call Contemporary Greek Photography Stage, interested in experimenting, and they have something interesting to offer both to the audience and to the photographers. Each of them represents a different kind of reflection and attitude towards photography. They are all (5) interested not to produce nice images, but images with spirit underlining the thoughts and the content.
Eythimis Mouratidis uses photography as a mean to comment on the changes covered by the exaggerating exposure and publicity, presents the face of a man in everyday life, the photograph after Rottela, after decoupage. He invents the accidental, but not at all by accident. Photographer’s goal is to write down the hidden implications of his fellows' acts.
Vassilis Karkatselis, in the specific project, deals with the capacities of the photo frame to include or exclude any totality of real world. His photography is on the verge of minimal with main axe the palimpsest walls. On the time of the photo frame is always presented the result of the coexistence of another graffiti action with the story of the sublayer, of a wall.
Thanassis Raptis, with traditional prints, but contemporary printing, composes a political photography which deals with the absence of the contemporary creator from social life, sometimes even from the same piece of art. The multiple takes on the same photo paper annul the unidimensional view of the world, annul the perspective of Renaissance and the camera, and annul the supposed fundamental principle of photography about the critical moment.
Stavros Dagtzidis with his work comments on the limits of intervention or the co-creation of the audience of a piece of art. What are the limits of the freedom of the audience to explain according to its opinion the presented work, what are the limits of its creative transformation by the descendant artists? To what extent are we allowed to look at a work without taking into account the framework of its creation?
Ismini Goula is a new photographer, and, as a young person, is charmed (or is she protesting against it?) by the colossal commercials (almost pieces of art) that cover (or coexist in a marvellous way) the equally colossal skyscrapers, which in sequence cover the horizon. One photography in another photography, a frame in another frame, a message in another message, the location towards another location, the question resulting from the answer.