Gerardo Mosquera – författare
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Chilean photographer Paz Errázuriz began taking photographs in the 1970s during the Pinochet dictatorship, and in subsequent decades traveled extensively to document the landsape and people of her native country. Throughout her dedicated practice, Errázuriz became intimate with not only her home city, Santiago, but also Chile’s central valley, Patagonia, and Valparaíso, forming long-lasting relationships with her many subjects. Her commitment to her subjects is steadfast—she is known for spending months or years within a given community, building trust and carefully studying social structures. During the dictatorship her projects were in violation of the regulations imposed by the military regime, as she dared to visit underground brothels, shelters, psychiatric wards, and boxing clubs, where women were not welcome. In Paz Errázuriz: Survey, over 170 photographs are compiled for the first time, resulting in a retrospective publication spanning over forty years. In the words of author Gerardo Mosquera, “the spaces explored in Errázuriz’s photos—beyond the striking personalities—reveal an extreme aesthetic that also exposes the potholes and irregularities left in the path of modernization. Her work consistently focuses on the social marginality that continues to plague the country, thereby capsizing Chile’s image of buoyancy by intuitively penetrating the contradictions—the innumerable cracks and fissures—that persist to this day.”
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This is the first comprehensive monograph on the pioneer of Korean avant-garde, Seung-taek Lee.Seung-taek Lee was born in 1932 in Gowon, Hamgyeongnam-do (currently a province in North Korea). Part of a generation that was deeply affected by the Korean War, he was exposed to works by Russian Constructivist and Realist artists at school and was trained in realistic depiction. As a refugee settled in Seoul, his determination to be an artist of the time was super-ordinary, exploring the possibilities of formless art or site-specific installation works in the 1960s, when no such concept had yet been introduced to the Korean art scene.Lee is best known for his “bound” series of object-based three-dimensional works and his “wind” series of ephemeral performances. Much of Lee’s paintings, sculptures, and environmental interventions share a kinship with both American land art and Korean shamanic traditions, and they embrace chance and ephemerality in their attempts to form a collaborative partnership with natural phenomena such as fire, water, wind, and smoke. Much of his work is rooted in folklore and has thus utilized traditional objects or natural materials such as tree branches, hanji paper, stones, rope, and wire transformed in almost metaphysical ways.Beautifully showcased in this seminal book, Lee’s iconic works have been selected under two separate themes: (Un) bound and Non-material, spanning 70 years of Lee’s oeuvre in two separate volumes in a slipcase binding.