Ατομική έκθεση φωτογραφίας του Βέλγου φωτογράφου Alain Schroeder από τη Blank Wall Gallery
Ατομική έκθεση φωτογραφίας
Alain Schroeder
Moving Images
Μετά την επιτυχημένη διοργάνωση του 1ου Chania International Photo Festival στην Πόλη των Χανίων στο οποίο συμμετείχαν πολλοί καλλιτέχνες από όλο τον κόσμο και είχαν την ευκαιρία να επισκεφθεί χιλιάδες κόσμου που βρίσκονταν εκείνη την περίοδο στην πόλη, η Blank Wall Gallery επιστρέφει στην Αθήνα και ανοίγει τη σεζόν 2018-2019 με την ατομική έκθεση του πολυβραβευμένου Βέλγου φωτογράφου Alain Schroeder.
O Alain Schroeder γεννήθηκε στο Βέλγιο το 1955 και ασχολείται κυρίως με το φωτορεπορτάζ. Έχει εικονογραφήσει πάνω από 30 βιβλία που αφορούν στην Κίνα, την Περσία, την Αναγέννηση, την Τοσκάνη, την Κρήτη, τη Βενετία κλπ. Επίσης έχει δημοσιεύσεις σε περιοδικά όπως το National Geographic,το Geo, το Paris-Match κ.α.
India 2014
Kolhapur
Kushti
General caption : Kushti is the traditional form of Indian wrestling established centuries ago in Persia. In vogue during the 16th century Mughal era, this art is practiced in a type of gymnasium called an Akhara.
Wearing only a well-adjusted loincloth (« langot »), wrestlers or « Pelwhans » enter a pit made of clay, often mixed with salt, lemon and ghee (clarified butter). This clay, representing Mother Earth is renewed every 2 years. Before every match, each wrestler covers the body of his adversary with this earth whose color varies by region (red in Kolhapur, yellow in Varanasi). During combat, the coated bodies meld with the color of the arena.
The rule for winning is simple. Both shoulders must be pinned to the ground. It is strictly forbidden to strangle or throw punches, yet the swollen ears of seasoned wrestlers are testament to the vigorous contact.
The religious rituals of preparation are as important as the fight itself. Inside and around the arena, the statue of the monkey-god Hanuman is the object of litanies and daily prayers.
Kushti is more than traditional Indian wrestling. It is a way of life that perpetuates a tradition where every encounter is a spiritual quest. More than a sport, it is above all a lifestyle that requires rigorous discipline as in all martial arts.
For long periods (between 6 - 12 months), wrestlers in training dedicate their bodies and souls to Kushti. Living at the Akhara, training begins with mastering self-control and learning to respect others which brings great pride and glory to practitioners of the sport. Wrestlers are bound by extremely strict rules, training 365 days a year even in the summer when temperatures reach 40°. Up at 5am to workout till 8-9am, then they break until 4pm when for the next 2 hours, skirmishes in the arena start up again. A cold shower outside with a simple hose or bucket over the head follows. Dietary rules are specific: essentially, almonds, milk, ghe
India 2014
Kolhapur
Kushti
General caption : Kushti is the traditional form of Indian wrestling established centuries ago in Persia. In vogue during the 16th century Mughal era, this art is practiced in a type of gymnasium called an Akhara.
Wearing only a well-adjusted loincloth (« langot »), wrestlers or « Pelwhans » enter a pit made of clay, often mixed with salt, lemon and ghee (clarified butter). This clay, representing Mother Earth is renewed every 2 years. Before every match, each wrestler covers the body of his adversary with this earth whose color varies by region (red in Kolhapur, yellow in Varanasi). During combat, the coated bodies meld with the color of the arena.
The rule for winning is simple. Both shoulders must be pinned to the ground. It is strictly forbidden to strangle or throw punches, yet the swollen ears of seasoned wrestlers are testament to the vigorous contact.
The religious rituals of preparation are as important as the fight itself. Inside and around the arena, the statue of the monkey-god Hanuman is the object of litanies and daily prayers.
Kushti is more than traditional Indian wrestling. It is a way of life that perpetuates a tradition where every encounter is a spiritual quest. More than a sport, it is above all a lifestyle that requires rigorous discipline as in all martial arts.
For long periods (between 6 - 12 months), wrestlers in training dedicate their bodies and souls to Kushti. Living at the Akhara, training begins with mastering self-control and learning to respect others which brings great pride and glory to practitioners of the sport. Wrestlers are bound by extremely strict rules, training 365 days a year even in the summer when temperatures reach 40°. Up at 5am to workout till 8-9am, then they break until 4pm when for the next 2 hours, skirmishes in the arena start up again. A cold shower outside with a simple hose or bucket over the head follows. Dietary rules are specific: essentially, almonds, milk, ghe
Indonesia, Sumbawa Island, Moyo,
After a day of racing, horses are taken for a cooling bath. All the kids in the neighborhood take adavantage of the moment to play with the horses in the river. Here a young jockey playfully bonds with his horse outside the serious atmosphere of the racetrack.
Once a game between neighbors to celebrate a good harvest, horse racing was transformed into a spectator sport by the Dutch in the 20th century to entertain officials and nobility. The unique features of Sumbawa racing are the notoriously small horses and fearless child jockeys, aged 5-10, who mount bareback, barefoot and with little protective gear. Maen Jaran (the Indonesian name of the game) takes place during important festivals and holidays throughout the year at racetracks across the island and remains a favorite pastime for Sumbawans. Rules have evolved, horses are now classified by age and height, yet kid jockeys continue to risk their lives for 3,50 to 7 euros per mount often racing many times in one day, and every day during the racing week, pushed by parents and relatives given the potential earnings that far outweigh the poor returns on crops often plagued by drought.
Indonesia, Sumbawa Island, Moyo,
After a day of racing, horses are taken for a cooling bath. All the kids in the neighborhood take adavantage of the moment to play with the horses in the river. Here a young jockey playfully bonds with his horse outside the serious atmosphere of the racetrack.
Once a game between neighbors to celebrate a good harvest, horse racing was transformed into a spectator sport by the Dutch in the 20th century to entertain officials and nobility. The unique features of Sumbawa racing are the notoriously small horses and fearless child jockeys, aged 5-10, who mount bareback, barefoot and with little protective gear. Maen Jaran (the Indonesian name of the game) takes place during important festivals and holidays throughout the year at racetracks across the island and remains a favorite pastime for Sumbawans. Rules have evolved, horses are now classified by age and height, yet kid jockeys continue to risk their lives for 3,50 to 7 euros per mount often racing many times in one day, and every day during the racing week, pushed by parents and relatives given the potential earnings that far outweigh the poor returns on crops often plagued by drought.
Bangladesh,
The technique of collecting bricks is well established. The men crouch down and using both hands, simultaneously place two bricks on a flat piece of wood resting on their head. But every movement stirs up a fine cloud of dust that covers them completely as it settles, transforming them into earth statues and endangering their health.
20 km east of Dacca, the periphery reveals many brick factories where men, women and very often children work in difficult and dangerous conditions.
In this industrial complex, men prepare the earth using a mold to make bricks of gray color. After drying in the sun, they will go into a giant oven; a sort of long tunnel similar to those of coal mines.
Overwhelmed with dust, in an infernal heat, women and children carry the bricks outside in wheelbarrows.
With about 11,000 brickworks across the country, Bangladesh is struggling to meet the construction demands of a rapidly growing population. Armies of workers including women and children suffer the hard manual labor, in extremely poor conditions, for merely $1 per day. Working 12-18 hours, without access to fresh water or decent food, children as young as 4 contribute to the monumental task of producing 1500 bricks per person per day. Families live in makeshift camps near the factories breathing air filled with arsenic and particles of burnt plastic. Despite the 2011 directives from the OECD and the UN, holding multinationals accountable for workers rights and good labor practices all along the manufacturing chain, the reality on the ground is rather substandard.
Several associations have launched campaigns under the name “Blood Bricks”, to heighten awareness around what is essentially a form of slave labor. Particularly active in India, unions, ONGs and other human rights organizations are staging events to inform local populations and mobilize workers in order to improve working conditions, increase pay rates and above all, eliminate child labor which leaves kids un
Bangladesh,
The technique of collecting bricks is well established. The men crouch down and using both hands, simultaneously place two bricks on a flat piece of wood resting on their head. But every movement stirs up a fine cloud of dust that covers them completely as it settles, transforming them into earth statues and endangering their health.
20 km east of Dacca, the periphery reveals many brick factories where men, women and very often children work in difficult and dangerous conditions.
In this industrial complex, men prepare the earth using a mold to make bricks of gray color. After drying in the sun, they will go into a giant oven; a sort of long tunnel similar to those of coal mines.
Overwhelmed with dust, in an infernal heat, women and children carry the bricks outside in wheelbarrows.
With about 11,000 brickworks across the country, Bangladesh is struggling to meet the construction demands of a rapidly growing population. Armies of workers including women and children suffer the hard manual labor, in extremely poor conditions, for merely $1 per day. Working 12-18 hours, without access to fresh water or decent food, children as young as 4 contribute to the monumental task of producing 1500 bricks per person per day. Families live in makeshift camps near the factories breathing air filled with arsenic and particles of burnt plastic. Despite the 2011 directives from the OECD and the UN, holding multinationals accountable for workers rights and good labor practices all along the manufacturing chain, the reality on the ground is rather substandard.
Several associations have launched campaigns under the name “Blood Bricks”, to heighten awareness around what is essentially a form of slave labor. Particularly active in India, unions, ONGs and other human rights organizations are staging events to inform local populations and mobilize workers in order to improve working conditions, increase pay rates and above all, eliminate child labor which leaves kids un
Myanmar, Bagan,
At 7AM during the anual festival of Ananda Pagoda in Bagan, monks line up to receive alms prepared by devotees who have journeyed from all corners of the country. A young monk finds himself stuck in between his brothers in the shuffle.
Myanmar, Bagan,
At 7AM during the anual festival of Ananda Pagoda in Bagan, monks line up to receive alms prepared by devotees who have journeyed from all corners of the country. A young monk finds himself stuck in between his brothers in the shuffle.
Afghanistan,
A woman wearing a burqa walking along a road
Afghanistan,
A woman wearing a burqa walking along a road
Varanasi, India
Inside a house
Varanasi, India
Inside a house
Indonesia, Sumbawa Island, Moyo,
Horse racing or Maen Jaran, is a favorite pastime in Sumbawa, Indonesia. Kid jockeys, 5 -10 years old, mount bareback, barefoot and with little to no protective gear, racing at speeds of up to 80 kms per hour. They will mount 5 to 6 times a day for several consecutive days. For 3,50 to 7 euros per mount.
Once a game between neighbors to celebrate a good harvest, horse racing was transformed into a spectator sport by the Dutch in the 20th century to entertain officials and nobility. The unique features of Sumbawa racing are the notoriously small horses and fearless child jockeys, aged 5-10, who mount bareback, barefoot and with little protective gear. Maen Jaran (the Indonesian name of the game) takes place during important festivals and holidays throughout the year at racetracks across the island and remains a favorite pastime for Sumbawans. Rules have evolved, horses are now classified by age and height, yet kid jockeys continue to risk their lives for 3,50 to 7 euros per mount often racing many times in one day, and every day during the racing week, pushed by parents and relatives given the potential earnings that far outweigh the poor returns on crops often plagued by drought.
Indonesia, Sumbawa Island, Moyo,
Horse racing or Maen Jaran, is a favorite pastime in Sumbawa, Indonesia. Kid jockeys, 5 -10 years old, mount bareback, barefoot and with little to no protective gear, racing at speeds of up to 80 kms per hour. They will mount 5 to 6 times a day for several consecutive days. For 3,50 to 7 euros per mount.
Once a game between neighbors to celebrate a good harvest, horse racing was transformed into a spectator sport by the Dutch in the 20th century to entertain officials and nobility. The unique features of Sumbawa racing are the notoriously small horses and fearless child jockeys, aged 5-10, who mount bareback, barefoot and with little protective gear. Maen Jaran (the Indonesian name of the game) takes place during important festivals and holidays throughout the year at racetracks across the island and remains a favorite pastime for Sumbawans. Rules have evolved, horses are now classified by age and height, yet kid jockeys continue to risk their lives for 3,50 to 7 euros per mount often racing many times in one day, and every day during the racing week, pushed by parents and relatives given the potential earnings that far outweigh the poor returns on crops often plagued by drought.
Είναι ιδρυτής του γνωστού πρακτορείου Reporters, που ιδρύθηκε το 1989 και έχει αποσπάσει πολλά διεθνή βραβεία, όπως το Japan Nikon Award 2017. Έχει επίσης αποσπάσει το 1ο βραβείο του World Press Photo 2018 για τη σειρά φωτογραφιών του Παιδιά Τζόκεϋ στην κατηγορία Sports Stories.
Ο ίδιος λέει για τη δουλειά του: «Η δουλειά μου είναι ένα μείγμα σύγχρονου ντοκιμαντέρ και φωτογραφίας της τέχνης, επηρεασμένη από τη Βελγική κληρονομιά μου με μία δόση σουρεαλισμού. Με ενδιαφέρει κυρίως η σε βάθος αναφορά των θεμάτων που σχετίζονται με τους ανθρώπους και το περιβάλλον τους. Οι διαφορές στις κουλτούρες, τον τρόπο ζωής, τις τελετουργίες και τα έθιμα με συναρπάζουν.»
Όλοι όσοι ενδιαφέρονται να δουν τη δουλειά του Alain Schroeder, μπορούν να περάσουν από τη Blank Wall Gallery από την Παρασκευή 14 Σεπτεμβρίου μέχρι και την Πέμπτη 27 Σεπτεμβρίου.
Έναρξη έκθεσης: Παρασκευή 14 Σεπτεμβρίου, 21:00
Blank Wall Gallery
Φωκίωνος Νέγρη 55 Κυψέλη
[p]+30.211.4052.138 [m]+30.694.3868.124 www.blankwallgallery.com
Επιμέλεια έκθεσης: Μάρκος Δολόπικος
Διάρκεια έκθεσης: Από 14 Σεπτεμβρίου έως 27 Σεπτεμβρίου 2018
Είσοδος Ελεύθερη
Πληροφορίες:
www.blankwallgallery.com
info@blankwallgallery.com
[p]+30.211.4052.138
[m]+30.694.3868.124
Ωράριο Λειτουργίας:
Τρίτη – Παρασκευή: 16:30-21:30
Σάββατο: 11:30-14:00
Κυριακή – Δευτέρα: Κλειστά
