Paris Photo 2018

catharine clark gallery paris photo 2018

Paris Photo 8–11 November 2018 Booth A27 Grand Palais Avenue Winston Churchill Paris, France

edgar martins deborah oropallo stephanie syjuco

Š Stephanie Syjuco, 2017

edgar martins

Portuguese; born in 1977, Evora, Portugal. Raised in Macau, China.

Lives and works in the United Kingdom.

“N.” by Canal, Winson Green (from the series “What Photography has in Common with an Empty Vase”), 2018.

EDGAR MARTINS is a Portuguese-born artist, raised in Macau, China, who lives and works in the United Kingdom, where he earned a Master of Arts in Photography and Fine Art at the Royal College of Art in London, United Kingdom. Martins uses archival material to explore the limits between fiction and documentation.

Martins’ work is in international museum collections including: Victoria and Albert Museum, London, United Kingdom; National Media Museum, Bradford, United Kingdom; RIBA, London, United Kingdom; Dallas Museum of Art, Texas; Fundação Calouste Gulbenkian, Lisbon, Portugal; Fundação EDP, Lisbon, Portugal; Fondation Carmignac, Paris, France; MAST, Bologna, Italy, among other institutions. Martins’ work has been exhibited internationally at MoMA PS1, New York, New York; Centro de Arte Moderna de Braganca, Portugal; Museu do Oriente, Lisbon, Portugal; The Gallery of Photography, Dublin, Ireland; The New Art Gallery Walsall, United Kingdom; and the Open Eye

Gallery, Liverpool, United Kingdom, among other venues. The Centre Culturel Calouste Gulbenkian in Paris, France, hosted Martins’ retrospective exhibition in 2010. In 2011, Martins represented Macau at the 54th Venice Biennale.

Martins has been the recipient of numerous awards: the inaugural New York Photography Award (Fine Art), BES Photo Prize (Portugal), SONY World Photography Award, the IPA Award (Fine Art), Lens Culture Art Awards, among others. Martins’ first book—Black Holes & Other Inconsistencies—was awarded the Thames & Hudson and RCA Society Book Art Prize. Between 2002 and 2018, Martins published twelve monographs, which were also met with critical acclaim.

For Paris Photo, Catharine Clark Gallery presents selections from the new series “What Photography has in Common with an Empty Vase”.

This multifaceted body of work was developed from a collaboration with Grain Projects and HM Prison, Birmingham—the largest category B prison in the Midlands, United Kingdom—its inmates, their families, and a myriad of local organizations and individuals. Using the social context of incarceration as a starting point, Martins explores the philosophical concept of absence. The project further considers the status of the photograph where questions of visibility, ethics, aesthetics and documentation intersect. From a humanist perspective, the work reflects on the absence of a loved one brought on by enforced separation. From an ontological perspective, the series queries how one represents a subject that eludes visualization or is absent or hidden from view. In an era of fake news, how can documentary photography best acknowledge the imaginative and fictional dimension of our relationship to photographs? By giving a voice to inmates and their families and addressing the subject of prison as a set of social relationships rather than a physical place, Martins’ work rethinks and provides an alternative to the sort of imagery that is normally associated with incarceration. Composed of three distinct chapters, the work shifts between image and information, fiction and evidence, strategically deploying visual and textual details in tandem so that the viewer becomes aware of what exists outside the confines of the frame.

Martins’ first solo exhibition at Catharine Clark Gallery is in the spring of 2019.

deborah oropallo American; born in 1954, Hackensack, New Jersey, USA. Lives and works in the San Francisco Bay Area, California, USA.

DEBORAH OROPALLO was born in Hackensack, New Jersey, USA, and has lived and worked in California’s San Francisco Bay Area since attending University of California at Berkeley for a Master of Arts and Master of Fine Arts. Oropallo employs photomontage as a strategy for visualizing how media-based images accumulate and overwhelm our collective consciousness.

Oropallo’s work is in the permanent collections of San Francisco Museum of Modern Art, California; Whitney Museum of American Art, New York, New York; Fine Arts Museums of San Francisco, California; Museum of Modern Art, New York, New York; and Anderson Collection, Stanford University, California, among other institutions. Various museums across the United States have featured Oropallo’s work in solo exhibits: Fine Arts Museums of San Francisco, California; Boise Art Museum, Idaho; Montalvo Art Center, Saratoga, California; and San Jose Museum of Art, California. Further, her work has been featured in group exhibitions at the Whitney Museum of American Art, New York, New York; San Francisco Museum of Modern Art, California; Corcoran Gallery, Washington, D.C.; and Jewish Museum, New York, New York. Oropallo is a recipient of a National Endowment for the Arts Award, an Eureka Fellowship from the Fleishhacker Foundation, the Engelhard Award, and two grants from the Pollock-Krasner Foundation.

Oropallo’s work is the subject of two monographs: POMP (2009) published by Gallery 16, and How To (2002), published by the San Jose Museum of Art.

For Paris Photo, the gallery will present collage and video works from the series “Dark Landscapes for A White House”.

The series reflects on our cultural habituation to political and ecological traumas. Oropallo describes her newest work as critiquing conflicted “moral terrains” and as “distilled visual journalism.” The compositions bear witness to global traumas that are all-too-often underreported, including oil spills and mass fires, flooding and its aftermath, and acts of human violence. By sourcing images from online news outlets, Oropallo draws attention to critical events that most people will never see, and which are elided from mainstream reportage. As Oropallo notes, “we consume and dismiss images so rapidly” that contemporary viewers have little time to reflect on geopolitical events and crises as they occur. By extension, Oropallo, in collaboration with the sound artist and composer Andy Rappaport, employs video montage to “slow down” that rapid feed of information, and to give viewers the time and space to reflect on the “catastrophic vulnerability of the current world around us.”

Oropallo has been represented by Catharine Clark Gallery since 2014.

Video Frame: Oil and Water, 2018.

stephanie syjuco American; born in 1974, Manila, Philippines.

Lives and works in Oakland, California, USA.

STEPHANIE SYJUCO was born in Manila (Philippines), and lives and works in Oakland, California, USA. She produces photography, sculpture, and installations, moving from handmade and craft-inspired mediums to digital processes and socially-engaged projects. Her work explores the tension between the authentic and the counterfeit, challenging deep-seated assumptions about history, race and labor. Her projects often leverage open-source systems, shareware logic, and flows of capital, to investigate issues of economies and empire. Her work was included in Being: New Photography 2018 at the Museum of Modern Art, New York. The museum acquired Syjuco’s work presented in the exhibition for the permanent collection.

Syjuco is also featured in PBS’ acclaimed documentary series “Art in the Twenty-First Century,” Season 9 by Art21. Earlier this year Syjuco debuted a new commissioned project “Added Value: An Alternative Book Sale,” which excavates and amplifies hidden bodies of knowledge for the San Francisco Museum of Modern Art’s Public Knowledge initiative. In 2016, Syjuco was commissioned by Art in America to produce a series of 3D digital capture illustrations for “The Digital Non-Visitor,” a feature on the impact of technology on the museum experience. Previously unpublished conversations with Syjuco and other artists in the Art21 series are included in the newly released book Being an Artist.

Syjuco’s work has been included in exhibitions at MoMA PS1, Long Island, New York; Whitney Museum of American Art, New York, New York; Museum of Modern Art, New York, New York; and San Francisco Museum of Modern Art, California, among other venues. Her project “Chromakey Aftermath” is included in Disrupting Craft, the 2018 Renwick Invitational at the Smithsonian American Art Museum, Washington, D.C. “Chromakey Aftermath” uses the tropes of craft to challenge our perceptions

Neutral Orchids (Phalaenopsis + Dracaena sanderana), 2016.

“What I’m doing is absorbing and processing the world around me and it’s becoming political. I don’t think I have a choice anymore; it’s just my reality.”

– Stephanie Syjuco

of “types” in contemporary America, uncovering the manifestation of the handmade within digital processes and virtual networks. The catalogue Pattern Migration was published in 2011 by the Columbus Museum of Art in Ohio to document Syjuco’s solo exhibition by the same title at the museum.

For Paris Photo, the gallery presents “Applicant Photos (Migrants)”, “Neutral Orchids” and Total Transparency Filter (Portrait of N) from “CITIZENS”, which further her investigation into the relationship between critical race and photography at the fore of her 2016 solo exhibition, Neutral Calibration Studies (Ornament + Crime). Syjuco notes that “Applicant Photos (Migrants)” “was developed in conjunction with the larger photographic series, ‘Cargo Cults’ and ‘Neutral Orchids’, and directly references standardized identification photos people are required to submit along with an application for immigration, travel, or asylum.” In staging “Cargo Cults” and “Applicant Photos (Migrants)”, Syjuco purchased mass-produced clothing with geometric patterns, and restyled them into stereotypical “ethnic” costumes as a means of revealing how Western conceptions of the “exotic” are inherently constructed. With “Applicant Photos (Migrants)”, however, Syjuco fully obscures her face, thwarting the viewer’s attempts to “read” her identity. This serves a conflicting, dual purpose: to elude identification and remain anonymous in an era of surveillance and tracking, and to also reference the many ways that migrants and refugees have been depicted as a faceless, anonymous mass.

Syjuco is an Assistant Professor of Sculpture in the Department of Art Practice at the University of California, Berkeley. She has been represented by Catharine Clark Gallery since 2008.

Check List | Prices are not inclusive of VAT and Taxes

edgar martins prices are inclusive of frames

Edgar Martins "A." by Asylum Bridge, Winson Green (from the series "What Photography has in Common with an Empty Vase"), 2018 Resin-coated print Edition of 3 150 x 120 cm. unframed | 47 x 60 in. unframed 153 x 123 cm. framed | 48 x 61 in. framed €15500 | $18,000

Edgar Martins "N." by Canal, Winson Green (from the series "What Photography has in Common with an Empty Vase"), 2018 Resin-coated print Edition of 3 150 x 120 cm. unframed | 47 x 60 in. unframed 153 x 123 cm. unframed | 48 x 61 in. framed €15500 | $18,000

Edgar Martins Sometimes the right stuff is in fact the wrong stuff (from the series "What Photography has in Common with an Empty Vase"), 2018 Resin-coated print (diptych) Edition of 3 24 x 30 cm. each unframed | 12 x 9 in. each unframed 25.5 x 31.5 cm. each unframed | 13 x 10 in. each framed €5250 | $6,100 Edgar Martins Lock it Down. Tonight. Let it go. (from the series "What Photography has in Common with an Empty Vase"), 2018 C-print (triptych) Edition of 3 30 x 24 cm. each unframed | 12 x 9 in. each unframed 25.5 x 31.5 cm. framed | 13 x 10 in. each framed €4500 | $5,200

deborah oropallo prices are inclusive of mounting devices

Deborah Oropallo Video Frame: Deluge, 2018 Photomontage on paper Edition 1/1 90.8 x 61.6 cm.

24 ½ x 35 ¾ in. €4400 | $5,000

Deborah Oropallo Video Frame: Meltdown, 2018 Photomontage on paper Edition 1/1 90.8 x 61.6 cm.

24 ½ x 35 ¾ in. €4400 | $5,000 *Also available as a video

Deborah Oropallo Video Frame: Fire, 2018 Photomontage on paper Edition 1/1 90 ¾ x 62 ¼ cm.

24 ½ x 35 ¾ in. €4400 | $5,000 *Also available as a video

Deborah Oropallo Video Frame: Flood, 2018 Photomontage on paper Edition 1/1 90 ¾ x 62 ¼ cm.

24 ½ x 35 ¾ in. €4400 | $5,000

Deborah Oropallo Video Frame: Ice Melt, 2018 Photomontage on paper Edition 1/1 90 ¾ x 62 ¼ cm.

24 ½ x 35 ¾ in. €4400 | $5,000 *Also available as a video

Deborah Oropallo Video Frame: Oil and Water, 2018 Photomontage on paper Edition 1/1 90 ¾ x 62 ¼ cm.

24 ½ x 35 ¾ in. €4400 | $5,000 *Also available as a video

Deborah Oropallo and Andy Rappaport Oval O, 2018 Single-channel digital video with sound Edition of 8 + 3AP 6:40 minutes €3900 | $4,500

Deborah Oropallo and Andy Rappaport Crude, 2018 Single-channel digital video with sound Edition of 8 + 3AP 6:39 minutes €3900 | $4,500

Deborah Oropallo and Andy Rappaport Blazes, 2018 Single-channel digital video with sound Edition of 8 + 3AP 3:31 minutes €3900 | $4,500

Deborah Oropallo and Andy Rappaport Meltdown, 2018 Single-channel digital video with sound Edition of 8 + 3AP 6:24 minutes €3900 | $4,500

stephanie syjuco prices are inclusive of frames

Stephanie Syjuco Applicant Photos (Migrants) #1, 2017 Pigmented inkjet print with archival framing and Optium UV filtering acrylic Edition of 10 + 2AP 9.1 x 10.6 cm. unframed | 3.6 x 4.2 in. unframed 50.8 x 40.6 cm. framed | 20 x 16 in. framed €4000 | $4,500

Stephanie Syjuco Applicant Photos (Migrants) #2, 2017 Pigmented inkjet print with archival framing and Optium UV filtering acrylic Edition of 10 + 2AP 9.1 x 10.6 cm. unframed | 3.6 x 4.2 in. unframed 50.8 x 40.6 cm. framed | 20 x 16 in. framed €4000 | $4,500

Stephanie Syjuco Applicant Photos (Migrants) #3, 2017 Pigmented inkjet print with archival framing and Optium UV filtering acrylic Edition of 10 + 2AP 9.1 x 10.6 cm. unframed | 3.6 x 4.2 in. unframed 50.8 x 40.6 cm. framed | 20 x 16 in. framed €4000 | $4,500

Stephanie Syjuco Neutral Orchids (Phalaenopsis + Dracaena sanderana), 2016 Pigmented inkjet print Edition of 10 + 2AP 60.96 x 81.28 cm. unframed | 32 x 24 in. unframed 63.5 x 83.82 cm. framed | 33 x 25 in. framed €7250 | $8,250

Stephanie Syjuco Neutral Orchids (Phalaenopsis, small), 2016 Pigmented inkjet print Edition of 10 + 2AP 38.1 x 50.8 cm. unframed | 20 x 15 in. unframed 40.64 x 53.34 cm. framed | 21 x 16 inches framed €7000 | $8,000

Stephanie Syjuco Total Transparency Filter (Portrait of N), 2017 Pigmented inkjet print with archival framing and Optium UV filtering acrylic Edition of 8 76.2 x 101.6 cm. unframed | 40 x 30 in. unframed 78.74 x 104.14 cm. framed | 41 x 31 in. framed €11400 | $13,500

catharine clark gallery Established in 1991, in San Francisco, California, Catharine Clark Gallery exhibits the work of international contemporary artists working across a range of media. The gallery’s program emphasizes content, often political, that challenges the traditional use of materials and concepts. Since its inception, the gallery has pioneered the presentation of new media art in San Francisco and is the first gallery in the city with a dedicated media screening room.

Representing twenty artists with diverse career levels and practices, the gallery presents changing solo exhibitions of artwork by gallery artists complemented by curated media room installations. The gallery’s exhibitions have garnered critical attention from numerous art writers, and the artists exhibit their work in national and international gallery and museum venues.

Since 2016, Catharine Clark Gallery has been exhibiting work at Paris Photo.

Stephanie Syjuco, Neutral Calibration Studies (Ornament + Crime) at Catharine Clark Gallery, 2016.

Edgar Martins. Sometimes the right stuff is in fact the wrong stuff (from the series "What Photography has in Common with an Empty Vase"), 2018. Resin-coated print. Edition of 3. 24 x 30 cm. each (12 x 9 in. each) unframed; 25.5 x 31.5 cm. each (13 x 10 in. each) framed.

Paris Photo Booth A27 Grand Palais Avenue Winston Churchill Paris, France m. +1 415.519.1439 cc@cclarkgallery.com associate@cclarkgallery.com

Catharine Clark Gallery 248 Utah Street San Francisco, California USA +1 415.399.1439 cclarkgallery.com

photo Front: Stephanie Syjuco. Total Transparency Filter (Portrait of N), 2017. Pigmented inkjet print with archival framing and Optium UV filtering acrylic. Edition of 8. 76.2 x 101.6 cm. (40 x 30 in.) unframed 78.74 x 104.14 cm.

(41 x 31 in.) framed .