LTI NY
November 8, 2018
Talia Chetrit 2X Covers
POP Magazine, Binx FW18
RE-EDITION. FW18
Talia Chetrit, photographer

 

 

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Talia Chetrit: POP & RE-EDITION covers, FW18

 

 

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Fashion Feature
Talia Chetrit
Document Journal
October FW18 issue

 

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Talia Chetrit: Document Journal, FW18

 

 

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MAXXI BVLGARI Prize
Talia Chetri
MAXXI – Museo delle Arti del XXI secolo Rome
May 30th—Oct 28th, 2018

 

 

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MAXXI – Museo delle Arti del XXI secolo Rome

 

Talia Chetrit was chosen as a finalist in the MAXXI BVLGARI Prize, the museum’s project supporting and promoting young artists in partnership with the iconic Italian luxury brand, Bulgari. In October 2018, the jury will select the winner, whose work will be acquired by the museum.

 

 

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Talia Chetrit: MAXXI BVLGARI Prize, installation views
MAXXI – Museo delle Arti del XXI secolo Rome, 2018

 

 

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Showcaller
Talia Chetrit
Kölnischer Kunstverein, Cologne, Germany
February 17 – March 25

 

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Talia Chetrit: Showcaller, Kölnischer Kunstverein, 2018

 

The exhibition, Showcaller, was conceived especially for the Kölnischer Kunstverein, and is comprised of predominately new and revisited works.

 

LTI-Lightside has been producing exhibition works for Talia Chetrit since 2009. See more of her work here.

 

 

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Talia Chetrit: Untitled (Body), 2018, Silver Gelatin Print, 10″ × 7″
from Showcaller, Kölnischer Kunstverein, 2018

 

 

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Talia Chetrit: Nipple/Chain, 2012, Silver Gelatin Print, 20″ × 16″
from Showcaller, Kölnischer Kunstverein, 2018

 

 

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Talia Chetrit: Fennel, 2015, Silver Gelatin Print, 9″ × 12″
from Showcaller, Kölnischer Kunstverein, 2018

 

 

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Talia Chetrit: Showcaller, Kölnischer Kunstverein, 2018

 

 

 

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Poser
Talia Chetrit
Sies + Höke
Sept 8 – Oct 8

 

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Talia Chetrit: Poser Sies + Höke, September 2017

 

 

From the Sies + Höke press release:

 

In Poser Talia Chetrit takes her own archive as the subject of an exhibition. In this show she presents two rooms of staged photographs taken over a 23 year span as a contiguous body—portraits taken by Chetrit as a teenager of her friends, all aged 12-15 from 1994-1997, and three new self-portraits shot in 2017. In the first set of photographs we see crops of young girls’ faces, other girls in lackadaisical repose, two listlessly lying on a bed nude as well as more recent, provocative images Chetrit has taken of herself—donning only panty hose on her face or a plastic shirt, both in overly dramatized makeup.

 

The work is possible within scalar and temporal shifts of representation that call the very processes of image making into question—framing and reframing the failures of her subjects’ intentions, of pretense and of appearing. Her preoccupation with the memory of those early shoots gives impetus to this show as something beyond ‘autobiography’, however.  At the time, she—newly behind the lens as an artist—and her friends were enacting their burgeoning agencies through each other, as peers, sharing in the spectacle of these photoshoots; this—opposed to her present experience, in which she uses these same images of the girls, then more than half age that she is now, along side images of her adult self—elicits a potently perverse anachronism. We see structures of power and dynamics of relations, prescience of our younger selves, all stripped bare and redressed by turns.

 

She has consistently, and by necessity, been concerned with the limits of the self-image and the implication of others in her practice. The forensic aspect of this work allows the artist to produce a double take on her own processes. The leaky, violent sophistication of the teen murder scenes alongside the almost clown level of makeup and ‘costuming’ –in both the images taken of her friends, and those she takes of herself–are leveled on a strange plane of equivalence. Like her previous shows, this work sits inside the unbounded intersections of staging and discovery, of human bodies, objects and meaning, which naturally emerge when photography is considered an act of performance—it’s through this process that Chetrit continually reappraises her role as a photographer and that of photography itself.

 

 

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Talia Chetrit: installation view Poser,  Sies + Höke, 2017

 

This is the third exhibition of Chetrit’s work we’ve helped produce for Sies + Höke. We’ve been working with Talia since 2009.

For more on our projects with her click here
For more on I’m selecting at Sies + Höke click here

 

 

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Talia Chetrit: Face 1, 1994 / 2017. 
14″ archival inkjet print

 

 

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Talia Chetrit
Kaufmann Repetto
September 15 – October 31

 

 

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Talia Chetrit
L: dress, inkjet print, 26 x 18″, 2016
R: legs, silver gelatin print, 24″ x 16″, 2016

 

From the Kaufmann Repetto press release:

 

In her latest photographs Talia Chetrit has structured a series of performative scenarios in which the artist uses her body, and that of her partner, to destabilize the conventions of self-portraiture and its mechanisms of control. The shutter release—along with mirrors in her studio, deconstructed clothing and multiple cameras—are tools with which Chetrit sets up deliberate triangulations that present us with critical openings. It is through these openings that we see the artist repeatedly demonstrating her submission to her own process as an act of authorial agency.

 

 

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Kaufmann Repetto: Talia Chetrit installation view
September 15 – October 31, 2016

This is the third exhibition we’ve helped produce for Talia Chetrit with Kaufmann Repetto. We’ve been working with Talia since 2009.

 

 

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I’m Selecting
Talia Chetrit
Sies + Höke
May 12 – June 19

 

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Talia Chetrit: from I’m Selecting at Sies + Höke
L: Untitled (Bottomless #2), 2015
R: Untitled (Street #9), 2015

 

From the Sies + Höke press release:

 

I’m Selecting, Talia Chetrit’s second exhibition at Sies + Höke, comprises two discrete bodies of work. One consists of 13 images shot on the streets of New York and Paris. The other, made using a mirror, is a suite of four photographs which depict the artist in her studio, nude from the waist down. Tightly cropped and grainy, semi-anonymized images of businessmen crossing the street and groups of people buying museum tickets typify the impersonal. While, contrastingly, the artist stares back at her viewer in bottomless, startling self-portraits.

 

The seeming incongruity between these two series is bridged by the amount of control exercised over both. Chetrit’s focus has long been aimed at the ways in which images are constructed and the manner in which they function in society: their contrivances, their agendas, and their fictions. Often the body serves as a site for this exploration of photography’s tenets, and in I’m Selecting, Chetrit uses the bodies of others as well as her own. These images are a reminder of the degree of self-scrutiny we impose on ourselves when we know our pictures are being taken, and the feeling of panic inspired by being photographed without realizing it.

 

Here the artist has brought these two emotions into the same room. It is clear that the unwitting subjects of the street photographs haven’t been given the opportunity to pose for the camera. Instead their images are forged after the fact – Chetrit has seemingly scoured her negatives for marginal moments of intrigue, cropping and enlarging to direct our attention to individuals who never sought it in the first place. It is therefore an almost conciliatory gesture that the artist reinserts herself into this narrative. Chetrit’s four half-nudes are an objectification and aestheticization of the artist’s own body, ostensibly revealing much more of herself than what she has taken from her subjects on the street. If control is the the guiding principle in I’m Selecting, then Chetrit deploys it in two fashions: on one hand taking control over images of others that initially had none, and on the other carefully crafting self-portraits that relinquish the possibility of that very control.

 

- Patrick Armstrong

 

 

 

 

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Talia Chetrit: I’m Selecting at Sies + Höke
Untitled (Bottomless #’s 1-4)


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Talia Chetrit: I’m Selecting at Sies + Höke
Untitled (Street #’s 1-12)

 

This is the second Talia Chetrit exhibition we’ve helped produced for Sies + Höke. We’ve been working with Talia since 2009.

For more on our projects with her click here
For more on I’m selecting at Sies + Höke click here

 

 

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Model
Talia Chetrit
Kaufman Repetto / Milan
November 20 – January 10

 

 

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Talia Chetrit: Parents in the Sun #1,  2014
From Model, Kaufman Repetto, Milan
20 x 25 digital-c print, acrylic mount

 

 

From the Kaufman Repetto press release:

 

In Model, Talia Chetrit reflects on the complex relationship between reality and representation, investigating themes of authenticity in the photographic medium through the exchange between subject and photographer. Alongside the new series of photographs, a video captures Talia Chetrit’s parents – present in earlier photographic works – as unwitting subjects of a collection of video clips. Parents candidly records the self-conscious posturing of the artist’s mother and father, contrasting the act of staging an image with the relationships created in the act of photographic portrayal.

While Talia Chetrit photographs, a digital camera films the artist’s unsuspecting parents, capturing interstitial situations – bits of conversations and gestures – whose intimacy is made public. The video exposes what happens behind the curtains of the photographic sessions, moments which lead to an image but are normally left out of the final photograph, revealing the view of the artist as curious, voyeuristic and directorial. Explicitly rendered is a vulnerable and private exchange between three members of a family, as well as a photographer and her models.

 

 

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Talia Chetrit: Parents, 2014
Installation view, Kaufman Repetto, Milan


This process exposes artifice – the posing of subjects for a desired effect – while simultaneously revealing the net of relationships that exist between husband and wife, parents and daughter. Accordingly, the family unit alternates between complicity and disobedience to the power dynamic that exists between the photographer and the portrayed subject. The ostensible sincerity of the candid camera gives a window to the illusory character of photography.

The accompanying series of photographs show Talia Chetrit’s parents gazing into each other’s eyes, then at their phones or a compact mirror, then back at the camera lens. Employing a number of photographic styles, the components of which allude to authenticity or staging, Chetrit debases the tropes of portraiture. Encountered after viewing Parents in the adjacent gallery, a seemingly candid image taken from a second floor balcony feels intently posed. The use of three different camera formats further highlight the ways in which the fabrication of an image influences its reception.

The interrelation of the video and photographic works in Model places emphasis on the unseen structures inherent to photography, investigating the role of photographer and subject as both attempt to fashion an image that reads as sincere. What becomes visible through Talia Chetrit’s laying bare of her working process is that from behind the camera lens sincerity can also be constructed.

 

 

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Talia Chetrit: Parents / Trees, 2014
From Model, Kaufman Repetto, Milan
20 x 24 conventionally enlarged silver gelatin print, museum board mount

 

 

Aside from the video piece, this exhibition includes (5) digital-c prints and (5) conventionally enlarged silver gelatin prints. You can see installation views and more from Kaufman Repetto here.

 

This is LTI/Lightside’s third solo exhibition  with Talia Chetrit — see more here.

 

 

 

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September 26, 2013
Talia Chetrit at Leslie Fritz
Talia Chetrit
Leslie Fritz
September 3 – October 6, 2013

 

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Talia Chetrit at Leslie Fritz, September 2013

 

From the Leslie Fritz press release:

 

Talia Chetrit’s current exhibition at Leslie Fritz, her third show with the gallery, originates in the artist’s revisiting old contact sheets from the first rolls of film she shot as a thirteen-year-old in the mid 1990’s. They were intimate, direct portraits of the subjects most immediately available to her: her own family in and around the home. Chetrit re-cropped and re-edited these old images, and returned to photograph her family again for the most recent work in the exhibition, mixing these two moments in this installation. In these images, we see her mother, father, brother, and the photographer herself, pictured today and as they appeared some eighteen years ago.

 

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Talia Chetrit: selections from Leslie Fritz, September, 2013
clockwise from top left:
Self-Portrait (13): 1995/2013, 18 x 24 silver gelatin print from original negative
Parents (side, 2013): 20 x 24 silver gelatin print from original negative
Self Portrait (Profile): 2013, 19 x 24 silver gelatin print from original negative
Parents (Stacked): 2013, 14 x 22 digital c-print

I’ve mentioned previously in this archive that often we’ll start work on a project and have no idea what we’re being presented with conceptually. This makes sense, considering that our role in the production of these projects is after all, that of the facilitating technician and so it’s only natural that we’re somewhat removed from the “content” side of the process. It’s almost as if we have insider status … but not too far inside, if you get my meaning. Anyway, it’s one of those quirks that comes with the job that actually makes life fun around here … specifically: trying to figure what’s going on in a project beyond the technical perimeters before actually asking.

 

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Talia Chetrit: selections from Leslie Fritz, 2013
left to right:
Dad: 1995/2013, 6 x 8 silver gelatin print from original negative
Brother: 1995/2013, 6 x 9 silver gelatin print from original negative

 

In this case: printing negatives shot by the artist eighteen years previous, including a self-portrait (without this being explained), clearly puts this project into that category.

 

Chetrit’s exhibition has been well received with reviews in Artforum, Mousse Magazine, Contemporary Art Daily and the Gallerist. For more, please visit Leslie Fritz online by clicking here.

 

 

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Bodies in Trouble
Talia Chetrit
Sies + Höke Galerie, Dusseldorf
Sept 7 – Oct 19, 2012

 

We recently worked on a series of 20 x 24 conventionally enlarged silver gelatin prints for Talia Chetrit’s Bodies in Trouble exhibition at Sies + Höke in Dusseldorf. Bodies in Trouble presents a psychological narrative articulated in three distinct movements … perhaps best described, as these things often are, in the gallery’s press release.

 

 


Talia Chetrit: Bodies in Trouble, Sies + Höke, 2012

 


Talia Chetrit: from Bodies in Trouble, 2012: Left to right, top to bottom:
Hand on Body (Crotch #1)
Hand on Body (Breast)
Hand on Body (Ass)
Hand on Body (Himself)

 


Talia Chetrit: Street Contact from Bodies in Trouble, 2012

 

 

 

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