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Between humiliation and happiness C

$2,644
Photography
One of a kind work | Framed and Ready to Hang
54 x 64 cm
Recipient of the dedication:

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Technique
Film photography
Type
One of a kind work
Material
Cardboard
Dimensions
54 x 64 cm
Framing
Yes (56 x 66 cm)
Quality Guarantee
Sold with a certificate of authenticity

The principle is similar for the four images from the series "Between Humiliation and Happiness", made with the support of the Centre Photographique d'Île de France in 2013, but this time in black and white.

The artist takes a previously overexposed photo-sensitive paper and crumples and folds it before exposing it on a new paper. The result is a kind of photographic skeleton on a black background, a type of photograph without an image.

The frontal and central presentation of the subject is reminiscent of Albert Renger-Patzsch's way of presenting his plants, except that here the objectivity sought by the German photographer is completely denied in favour of chemistry. The photograph is brought back to its reality as an object, its first state, still untouched by the external world.

artist avatar

Juliana Borinski

Renowned Artist Renowned Artist

Paris (75), France

14 works

Juliana Borinski is a German-Brazilian artist based in Paris, France. Her art has been exhibited internationally in contemporary art centers and museums since 2006. Working with still and often camera-less images (photography) and moving images (film, installation, video), she experiments with the conjunction between iconography and iconoclasm. Juliana's work explores various media issues through an analysis of their primary resources: chemistry, matter and devices. When working with photography or film, Juliana Borinski almost never uses a camera. She creates images, usually abstract, by directly using photosensitive paper or film to explore their aesthetic and technical capacities. What should only be a receptacle for the image, its support, becomes the very material of her work. Juliana Borinski looks for error, lack, chance. She voluntarily places herself at the margin of the systems she exploits, the visual media, taking care to avoid the image in the usual sense and the new technologies, to privilege the "almost nothing". This unconventional practice is also reflected in the fact that each piece is unique, at a time when copying an element only requires a single click, and when her working tools are photography and cinema, the heroes of technical reproducibility analyzed by Walter Benjamin.

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