Founded in 2018, Print Pomona Art Book Fair (PPABF), offers exhibitors from Los Angeles and within the San Gabriel Valley and Inland Empire a platform to share their art to the community. The fair is the first of its kind within the San Gabriel Valley in the city of Pomona. Located just 30 miles east of the city of Los Angeles. PPABF is free and open to the public. For more information click here
drkrm presents The Adventures of Little Miss featuring provocative new work from always controversial writer/photographer Scot Sothern. A pop-up exhibition and book launch will be held on Saturday, February 2nd from 6 to 10 pm at drkrm gallery’s new Santa Monica location. Copies of the new monograph Little Miss published by drkrm editions will be available for purchase and signing.
European Diary 1983-1984
Save for some, nearly all the photographs we see here have not been published or publicly exhibited prior to this exhibition. It is not rare for pictures to remain unnoticed for a long time because innumerable photos are often kept in our digital devices without ever being seen again. Keizo Kitajima travelled to Eastern Europe in 1983 to take these pictures as a photographer and not as a tourist, yet for these to have remained unseen despite his initial intention to exhibit them, involves a specific if strange operation which bears directly on the question " when does one become a photographer?" This exhibition, in fact, provides an answer: only after 35 years did Kitajima become a photographer of these sites.
In other words, 30 years or so were necessary for these photographs to become publishable. The gap of years generates the distance absent when he took the photos. These images are just as distant to him now as they are to us. He was physically present in Berlin, Warsaw, and Prague when he took these pictures from 1983 to 1984. This distance in time prevents anyone from possessing these views as their own, including Kitajima. The photographer who might claim that these were taken just yesterday cannot possibly exist because of the amount of time that has lapsed. Kitajima spent 35 years to tease out this gap between the mechanical and personal gaze. We should read his career as a constant struggle with this gap. His early activities, including the “Photo Express Tokyo” magazine where he published snapshots using flash to increase contrast, was meant to get away from those viewers whose emphasis on the "having seen" and “being there” obscured the mechanical gaze. This flight underwrites his trips to Okinawa and New York, as well as the ones he took to Eastern Europe and the Soviet Union on the verge of collapse.
About Keizo Kitajima
Keizo Kitajima was born in 1954 in Suzaka (Nagano Prefecture), Japan. He began photography at an early age; his discovery of the precursory works of Nobuyoshi Araki and Daidō Moriyama marked his teenage years. He was an original member of the Workshop Photo School. Like Moriyama, Kitajima developed an interest in the creative potential of photography’s reproducibility, but he took the notion of transformation in a very different direction, focusing on the layers of reproduction in his own work rather than the degeneration of cultural media. Kitajima’s photography is haunted by an obsession: identity, or rather the opposite; what Kitajima himself calls un-identity.
JANUARY 26, 2019 (Saturday)
JANUARY 26, 2019 (Saturday)
JANUARY 26, 2019 – MARCH 2, 2019
Make Room is proud to present Chinglish, an exhibition by artist Li Shun. Li’s debut exhibition in the United States brings together his latest series on paper, photography, and video. Li Shun’s “Internet Graphite” series began with his thoughts and obsessions of Woyou (Imaginary Tour). Woyou originated in the Wei-Jin period in China. Coraphnfined by the conditions of transportation, ancient people did not have the freedom to travel around the world, so they turned to Shanshui Hua (Landscape paintings) as an alternative. Paintings became the window for ancient people to see the world at home. Li utilizes Google Maps as an index for him to experience the world without taking a step out. Through Google Maps, Li closely observes and carefully chooses the landscapes that he wants to depict and takes screenshots on the computer. He then photographs the screenshots with a Polaroid and creates painterly sketches based on the screenshots. This mode of Internet Sketch incorporates the obscurity of blurred vision, the novelty of being irrelevant, and the spirit of an imaginary tour. The artist will present the printed screenshots, Polaroid photographs, and sketches altogether in the exhibition. A virtual private network is required to access Google in China and unexpected bugs might occur when making screenshots due to issues like network speed, etc. These realistic reasons and surreal illusions indicate an English word with both strong directivity and ambivalence, “Chinglish.” The word’s contradictory senses, derogatory remarks, and especially, extraordinary effects make it a poignant word to interpret Li Shun’s work. The transliteration of “Chinglish,” Chigelishi (Eat History) also provides vivid and comical explanation. Li’s latest series of work presents a proper fusion of the solemnity of classic paintings, the form of modernism, and the appropriation of postmodernism. Li Shun (b.1988 Xuzhou, Jiangsu Province, China) received both his BFA and MFA from China Academy of Art School of Intermedia Art, now lives and works in Hangzhou. Recent awards and exhibitions include: TOP20 Chinese Emerging Contemporary Photographer (Hangzhou, 2017); The Civil Power: Beijing Min Sheng Art Museum Silver Award (Beijing, 2015); Nomination for The Sixth Three Shadows Photography Award (Beijing, 2014); The Second New Star Art Festival - Young Photographer Award (Shanghai, 2011); Solo exhibition: “CHINGLISH” (Los Angeles2019); Solo exhibiton: “Oceanice Scroll” (Beijing, 2018); Art Basel HK solo project (Hong Kong, 2018); Second Changjiang International Photography and Video Biennale (Chongqing, 2017);