DIE BILDHALLE AN DER PHOTO LONDON

19. bis 22. Mai, Stand E3, Somerset House, London

«Photo London brings together 80 of the world's leading galleries in a major international photography fair».

Die Bildhalle stellt an der Photo London folgende Fotografen aus: ROBERT BOESCH, RENÉ GROEBLI, THOMAS HOEPKER, GIAN PAUL LOZZA, DOUGLAS MANDRY, CARMEN MITROTTA.

He is known as a photographer of mountain scenery, but he is much more than that. Robert Boesch loves and admires nature, and stones in particular – whether a single boulder, a hill, a whole mountain range, or the expanse of the entire visible earth crust. The sky looms above, horizons frame the scene. We call it firmament of universe – this airy, transparent realm in constant motion that complements Boeschs' earth.
Guido Magnaguagno

The series THE EYE OF LOVE by Swiss photographer René Groebli was made during the honeymoon with his wife Rita in Paris in 1952. The first to notice him was the American photographer and curator Edward Steichen, who had towards the end of the 1940s established at the New York Museum of Modern Art the first photography department world-wide. For the museum's collection he acquired the series «The Eye of Love». René Groebli also formed part of the monumental MoMA exhibition «The Family of Man»(1955).

Thomas Hoepker, a member of MAGNUM PHOTOS, had the opportunity to spend time with Muhammad Ali in 1960 when he won the a gold medal at the Rome Olympics. Then in 1966, when Ali was world heavyweight champion already and 1970, when he restarted his career and prepared himself for the «Fight of the Century» against Joe Frazier. Many of these pictures have gone around the world and became photographic icons. They have been shown in many museums and are sought after by collectors.

Gian Paul Lozza's Somnium series play directly with the viewer's cultural reservoir – the intersubjective storehouse of images and stories that has developed in popular culture. «This is a journey into the depths of the human psyche», says Gian Paul Lozza. «It is dark and melancholic there. The viewer is abandoned to himself. The film of internal images takes him captive and leads him into unknown recesses of his consciousness».

Starting with negatives I had shot in the South of Asia, my idea was to confront the reality of a tropical region with our consolidated vision of such lands through the use of a peculiar photographic process. The reference to botanical illustration of the subject lead me towards a use of cyanotype to develop my pictures. Yet rather than exposing the negatives to sunlight as per the classic cyanotype printing process, I exposed each frame to the light of a solarium cabin for 5 minutes — the minimum amount of time allowed by the machine.
Douglas Mandry

Carmen Mitrotta was always attracted to the visual arts growing up, and initially devoted herself to painting at art school in Lecce, Italy. She soon left painting behind to focus exclusively on photography. It was through her studies of varied mediums of self portrait and experimentation in the dark room that led her to adopting peculiarity in shape and colours to be the main theme in her work. We can see that colour and form are her muse in works which are almost painterly in their composition. She doesn't stick to the expected, and it's that element of unpredictability that excites us so much about her work.