personal : erin mulvehill photography/ brooklyn new york erin mulvehill can freeze time // photography beauty will save the world © 2017 / personal D+V D+V Management was founded by Natalie Doran and Laurence Vuillemin in 2003. With a reputation for finding photographers who create work with a strong signature, names including Miles Aldridge, Mel Bles and Jacob Sutton are part of a selective, hand picked roster. With strong connections across editorial and commercial worlds, clients often form lasting relationships with the agency. D+V photographers continually work with magazines including international editors of Vogue, Numéro, The Gentlewoman, i-D and AnOther while commercial clients range from Yves Saint Laurent and Louis Vuitton to Givenchy and Christian Dior. One of the first agencies to pioneer work with moving image as well as stills, D+V’s photographic artists have created films for brands including Burberry, Topshop, Missoni, Guess, Fendi and Y-3.
SELECTED WORKS Zwammerdam - kas 2005 | 90 x 175 cm / 77 x 150 MARC VAN DALEN jimmie durham - Sprovieri Gallery The Forest and Brancusi 2012 three walnut painted pieces, round wood table 280 x 50 x 40 cm This Should Explain 2012 industrial machine, olive and tropical wood branches 210 x 65 x 70 cm It Should Work 2012 industrial machine, olive knot 165 x 75 x 70 cm Homanagem a Luciano Fabro (Homage to Luciano Fabro) 2010 wood 224 x 30 x 50 cm Second Life 2010 wooden table, wooden golf club, and a book 110 x 60 x 73 cm MARC VAN DALEN Gilberto Zorio, Arte Povera, artistes, contemporains, art contemporain, peinture, art moderne Date de naissance : 1944 Lieu : Andorno Micca, Italie Courant : Arte Povera Depuis sa première exposition à la galerie Sperone de Turin en 1967, l’œuvre de Gilberto Zorio est liée à l’histoire de l’Arte Povera. Les 1ères productions sont des objets étranges, résultats d’actions achevées ou en cours, mettant en jeu des forces physiques et des réactions chimiques simples : Colonne, 1967, tube d’éternit en équilibre sur des chambres à air ; Rose/Bleu/Rose, 1967, cylindre d’éternit coupé dans sa longueur et rempli d’un mélange de plâtre et de cobalt qui change de couleur au gré des variations de l’humidité de l’air ; Piombi, 1968, constitué de deux plaques-récipients de plomb contenant respectivement de l’acide sulfurique et de l’acide chlorhydrique qui attaquent, plus ou moins lentement, et en prenant des couleurs différentes, une barre de cuivre recourbée dont les extrémités baignent dans les acides. Source : Centre Pompidou
Mark Jenkins // Inside The Box, 2014 Living Canvas Series, 2014 High Rider, 2014 High Noon, 2014 RANDA MIRZA I works abandoned rooms . (2005 - 2006) Vacant apartments. destroyed villas, hotels, chalets and summer houses sheltered during the "Lebanese Civil War" (1975-1990), the people who fled their endangered regions. The numerous local and foreign militias and armies also inhabited multiple structures, turning them into housing or headquarters. Jürgen Nefzger Jürgen Nefzger - HEXAGONE - THE LANDSCAPE CONSUMED This large set of images is now part of the Hexagone corpus, where it forms the second section, entitled “The Landscape Consumed.” In these images Jürgen Nefzger moves away from the highly urbanised territory and towards places with low population density, even rural ones, showing us the other side of appearances: instead of what comes before the manufactured landscape, we are faced with uncertain images of it, resulting from the general takeover by the consumerist model.