Photographer Eamon Mac Mahon talks about his practice

Perfect timing! Coinciding with SCENES FROM HERE, our CONTACT exhibition featuring his work, Daylight Magazine publishes Landlocked.

Daylight Magazine has just released Eamon Mac Mahon: LANDLOCKED, another in their series of multi-media features. Here Eamon Mac Mahon talk about his photographic work and inspiration.

Eamon Mac Mahon grew up at the edge of the boreal forest, in a coal mining town in the foothills of the Rockies. Ever curious, he wondered about the towns in the far northwest of Canada and Alaska that existed without any roads leading to them. These towns were quite literally landlocked and were situated amidst vast areas of uninhabited land. Beginning in 2004, Eamon began traveling with a bush pilot to visit and photograph these far-flung communities each autumn.

ALEJANDRO CARTAGENA: SUBURBIA MEXICANA

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Girl Coming Home To Suburb In Juarez From A Night Out In The City from Suburbia Mexicana, 2009

NEWS RELEASE

ALEJANDRO CARTAGENA: SUBURBIA MEXICANA

Circuit Gallery brings acclaimed project to Toronto for CONTACT Photography Festival Featured Exhibition

Toronto, ON – April 28, 2011Circuit Gallery is pleased to present, as a Featured Exhibition in the 2011 Scotiabank CONTACT Photography Festival, a major solo exhibition of 30 large-format works by contemporary Mexican photographer Alejandro Cartagena from his acclaimed project Suburbia Mexicana: Cause and Effect (2006-2009). The exhibition features works drawn from the project’s constituent parts—Urban Holes, Fragmented Cities, Lost Rivers, and People of Suburbia.

The recent monograph Suburbia Mexicana, co-published by Daylight and Photolucida (2011), accompanies the exhibition. The book features 36 colour plates, an Introduction by Karen Irvine, an Essay by Gerardo Montiel Klint, and an Interview by Lisa Uddin.


Suburbia Mexicana is a documentary project deeply rooted in the local and the particular, in the artist’s own experience living and working in the northern Mexican city of Monterrey. It is an ambitious and committed project that seeks to tell, in multiple chapters, the complex story of the region’s rapid suburban expansion: from urban gentrification and inner-city ‘ghettoization,’ to the seemingly unplanned and unhampered suburban sprawl emanating from many of its fast growing cities, including the environmental consequences.

Alejandro Cartagena’s project pays homage to and distinguishes itself from the New Topographics—a 1970s American exhibition of landscape photography that evolved into a movement. His subjects include: tract housing, inner-city vacant lots, desiccated or polluted rivers, and the residents of these new developments. Yet beyond simple documentation, Cartagena is interested in foregrounding the larger picture: “the Mexican suburbs are symbolic; they represent corruption, a lack of standards in planning, and personal obsessions.” Through a sustained and holistic visual study, Cartagena effectively conveys something about the deeper mechanisms at work–the ideological, political, economic, and social ground–in his “man-altered landscapes.”

Cartagena’s work equally diverges from earlier New Topographic approaches in that it does not simply reject beauty, or seek to coolly “aestheticize the banal.” His images are aesthetically alluring and offer multiple points of resonance, reaching beyond the specific place represented and attesting to something more pervasive and palpable on a global level—greed, corruption, ecological fragility and loss—as shared issues under advanced capitalism.

Alejandro Cartagena lives and works in Monterrey, Mexico. His work has been exhibited and published internationally, and is in several public and private collections in Canada, Mexico, Brazil, Italy, and the United States, including the Museum of Contemporary Photography, Chicago, the Portland Art Museum, Portland, OR, and the Joaquim Paiva Collection, Sao Paolo, Brazil. He is the recipient of several major national grants, numerous honorable mentions and acquisition prizes in Mexico and abroad. He is represented by Circuit Gallery (Toronto).


Suburbia Mexicana: Cause and Effect runs April 28 through May 29 at Gallery 345, with an OPENING RECEPTION on Thursday May 5, from 7:00 p.m. – 10:00 p.m.. The artist will be in attendance.

On Saturday, May 7, from 1:00 – 3:00 p.m., Mr. Cartagena will talk about his project and be signing books.

Please visit Circuit Gallery online to see and learn more:
http://www.circuitgallery.com

Circuit Gallery at Gallery 345
345 Sorauren Avenue, Toronto, Canada
[ Google Map ]

Gallery Hours:
Saturdays, 12:00 noon – 5:00 p.m., or by appointment
For more information contact Claire Sykes: claire@circuitgallery.com | 1-647-477-2487

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Fragmented Cities, Escobedo, 2008

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Business In Newly Built Suburb In Juarez, 2009

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Fragmented Cities, Santa Catarina #2, 2008

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Untitled Lost River #16, from the Suburbia Mexicana Project, 2008

Alejandro Cartagena, Suburbia Mexicana

Alejandro Cartagena, Father With Children After Gathering Wood In Juarez Suburb, 2009

Please visit Circuit Gallery online to see and learn more about this work.
www.circuitgallery.com


About Circuit Gallery

Circuit Gallery is the shared vision and collaborative product of Susana Reisman and Claire Sykes. The gallery specializes in high-end editions of works by emerging and established contemporary artists with an emphasis on photographic, digital and print-based works on paper.

For more information, visit www.circuitgallery.com or follow the daily conversation at www.twitter.com/circuitgallery.

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For more information, contact:
Claire Sykes, Partner, Circuit Gallery
Tel: 647-477-2487
E-mail: claire@circuitgallery.com

Circuit Gallery artist Susana Reisman awarded for book

Susana Reisman

Pictured: Author Susana Reisman (right) and publisher Nadine Touma (left) receive their award at the Bologna Children's Book Fair.

A BIG Congratulations to Circuit Gallery artist Susana Reisman whose first book, Time Flies (Dar Onboz, 2009), is receiving important international recognition.

Susana Reisman

In December 2009, Time Flies won in the “New Publications” category at the CJ Picture Book Festival is Seoul, Korea.

Review:
A silent book with no words, using photographs of the hands and numbers of different watches to create a world where time stands still, to reconstruct another time, another place, and another perception of what is around us and what we take for granted. As time flies, this book invites us to fly with time and look at things not as we think they are but as we construct them to be, allowing every reader to interpret and tell the story as they see and would write. Every reader becomes a composer of images and a writer of signs.

Susana Reisman

In March, 2010, Time Flies received a mention in the “Opera Prima” category of the prestigious BolognaRagazzi Awards at the Bologna Children’s Book Fair in Italy.

What the Jury Said:
In Susana Reisman’s world, lines vibrate, triangles sing and numbers recall metaphysical clocks counting out the hours of eternity. Echoing Klee, Matisse and other 20th century artists, the artist aims to mesh music and painting. The result is so convincing that the pages seem to come alive. The tone, however, is always light-hearted, the medley of references and citations is always a source for enjoyment. The meticulous style provides an elegant framework for this delightful composition.

Susana Reisman

Pages 5/6 from Time Flies by Susana Reisman.

Susana Reisman

Pages 13/14 from Time Flies by Susana Reisman.

Susana Reisman

Pages 39/40 from Time Flies by Susana Reisman.

Susana Reisman

Pages 63/64 from Time Flies by Susana Reisman.

Reisman’s statement about her book:

Time Flies is a visual book that is thematically concerned with frameworks of perception and understanding—it is about seeing, reading and context. In it I want to bring awareness to these things; and draw attention to the structures that surround us, that we grow to accept as given or that are invisible.

I have chosen to use ‘time’ as the primary motif—time being an overarching structure that we live by. The clock-hands are animated in order to take us into a world of imagination, a realm where things shift and where play and experimentation abound. The numbers function as building blocks for a new world of patterns and structures where the slightest variation creates very different forms.

In doing so, I want to emphasize that such structures, systems, languages, frameworks, etc. are all constructed entities and that while necessary to communication, they are susceptible to change, to shifting views, offering new possibilities, new alternatives…

Essentially this book is metaphorically about the place of grey. It is about the place of ambiguity and complexity, neither black nor white but shades of grey.

Circuit Gallery artist Susana Reisman is featured in EMERGENCE

Emergence

Emergence: Contemporary Photography in Canada. Edited by Sarah Parsons. Co-published by Gallery 44 and Ryerson University.

Circuit Gallery artist Susana Reisman is featured in EMERGENCE, a new publication by Gallery 44 that celebrates contemporary Canadian photography. It is an attractive volume with solid essays by Matthew Brower, Liz Park, Gabrielle Moser, Marie Fraser and Katy McCormick.

Reisman was selected by Suzy Lake.

Emergence

Pictured: Suzy Lake's Extended Breathing 2. Lake is represented by Paul Petro Contemporary Art.

I chose Susana Reisman because of her interest in how we see, counter to assumptions of photographic information. There is a sense of extended duration in her works Camera Lucida and On the Scale of History that allows us to accrue detail towards a subjective experience of her photographs. These works are sequenced to a “panorama” for space or movement, rather than a topical narrative.

The subject matter in both of these series us a staging or sculptural construction of seminal texts on photography. To photographers, our past moves linearly present. Thought becomes material. And this emphasis on materiality brings poetry to “about photography.” Form and content marry.
— SUZY LAKE

Susana Reisman's The Art History of Photography

Susana Reisman's - Art History of Photography, from On the Scale of History, 2007. Resiman is represented in Canada by Peak Gallery.

Congratulations Susana!



See more photographic work by Susana Reisman available through Circuit Gallery:

Susana Reisman, Endless Column (after Constantin Brancusi), 2007

Susana Reisman, Endless Column (after Constantin Brancusi), 2007

Susana Reisman, The Real Thing (after Donald Judd), 2007

Susana Reisman, The Real Thing (after Donald Judd), 2007