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Giada Ripa
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Kazufusa Hosho - 20th Generation Head of Hosho School, Noh Performer, from The Yokohama Project 2016, 100x80cm,, mounted on D-bond with wood frame © Giada Ripa
Kanshin Mochida - Buddhist monk, from The Yokohama Project 2016, 125x100cm, mounted on D-bond with wood frame © Giada Ripa
Katsuji Takahashi - Kick Boxing Champion, from The Yokohama Project 2016, 80x100cm, mounted on D-bond with Wood frame © Giada Ripa
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Kazufusa Hosho - 20th Generation Head of Hosho School, Noh Performer, from The Yokohama Project 2016, 100x80cm,, mounted on D-bond with wood frame © Giada Ripa
Kanshin Mochida - Buddhist monk, from The Yokohama Project 2016, 125x100cm, mounted on D-bond with wood frame © Giada Ripa
Katsuji Takahashi - Kick Boxing Champion, from The Yokohama Project 2016, 80x100cm, mounted on D-bond with Wood frame © Giada Ripa
Mayume Watanabe - Tatoo artist, from The Yokohama Project 2016, 100x80cm, mounted on D-bond with wood frame © Giada Ripa
Lake Ashi, Hakone, Ashigarashimo district, Kanagawa Prefecture, from The Yokohama Project 2015, 120x150cm, mounted on D-bond with wood frame © Giada Ripa
Untitled triptych #2 (Marble Quarry), from Displacement Series 2011, C-Type print, 80cm/100cm, Ed 1/5 + 1 AP. 120/150 cm, Ed 5+ 1 AP. © Giada Ripa
Untitled # 2, (Geothermic) from Displacement Series 2013, C-Type print, 140x170cm, Ed 1/8 + 2 AP. © Giada Ripa
Untitled # 1 (Sculpture) , from Displacement Series 2013, C-Type print,140x170cm, Ed 2/8 + 2 AP. © Giada Ripa
Untitled # 1 (Sculpture) , from Displacement Series 2013, C-Type print, 140x170cm, Ed 2/8 + 2 AP. © Giada Ripa

Giada Ripa has roamed the world, using its topographies as a backdrop for her examinations of personal dislocation in both public and private spaces.
She concentrates on the analysis of space as a means for exploring personal identity and has developed a body of work characterized by introspection and experimentation. She often uses landscapes and energy production sites as a backdrop for her performances during which a confrontation between a human being occurs with foreign and distant places loaded with cultural, historical and geopolitical implications.

Her latest project to date, The Yokohama Project 1867-2017, is a conversation amongst three artists and their western vision of Japan over a 150 year span. The artist becomes the link between Felice Beato’s 18th century hand coloured portraits and views of Yokohama and Mathilde Ruinart’s unedited manuscript, Voyage au Japon, of the same period. During a trip to Japan she followed their respective footsteps in an attempt to identify local contemporary analogies. 
The Yokohama Project will be officially presented in April 2017 at Kyotographie, the prestigious international photo festival in Kyoto. It will then travel back to Europe and will be shown first in Brussels during Art Brussels then in Paris at Paris Photo in November 2017.

Gabriele Basilico
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Arco di Tito, 2000, Roma, 140x100 cm. Courtesy Gabriele Basilico/Studio Basilico Milano
Colosseo, 2000, Roma, 140x100 cm. Courtesy Gabriele Basilico/Studio Basilico Milano
Milano 1989 (89A7-75), 2002, 110x140 cm, Gelatin silver print. Edition 8 of 15 (Unsigned). Courtesy Gabriele Basilico/Studio Basilico Milano
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Arco di Tito, 2000, Roma, 140x100 cm. Courtesy Gabriele Basilico/Studio Basilico Milano
Colosseo, 2000, Roma, 140x100 cm. Courtesy Gabriele Basilico/Studio Basilico Milano
Milano 1989 (89A7-75), 2002, 110x140 cm, Gelatin silver print. Edition 8 of 15 (Unsigned). Courtesy Gabriele Basilico/Studio Basilico Milano
AULT 1985, 104x131 cm. Edition 8 of 15 (Signed). Courtesy Gabriele Basilico/Studio Basilico Milano

Gabriele Basilico was born in 1944 in Milano, where he died in 2013.
In the early seventies, after graduating from the Faculty of Architecture, began to photograph the urban landscape. His first project Milano ritratti di fabbriche 1978-80 portrayed the milanese industrial area.
In 1984 he was invited, as the only Italian photographer, to work on the project of the Mission Photographique de la DATAR, an enormous undertaking to record the contemporary French landscape promoted by the French government.
In 1991 participates with a group of international photographers in the photographic Mission on the city of Beirut at the end of the war.
Since then, Gabriele Basilico carried out many solo and group campaigns on different cities all around the world, and his work has been presented in many shows, books and catalogues. Among them Porti di mare (1990), Bord de mer (1992), L’esperienza dei luoghi (1994), Italy, cross-sections of a country (1998), Interrupted City (1999), Cityscapes (1999), Berlin (2001), Beirut (2003), Scattered city (2005), Montecarlo (2007), Intercity (2007).
The latest realized photographic projects are: Silicon Valley commissioned by the San Francisco Museum of Modern Art, Roma 2007, Vertical Moscow, a photographic survey on the urban landscape of Moscow portrayed from the top of the Stalin’s Seven Skyscrapers, Istanbul 05.010, Shanghai 2010, Beirut 2011, Rio de Janeiro 2011.

Courtesy: Photo & Contemporary, Turin

Edward Burtynsky
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Cape Coral #1, Florida - Lee County, USA 2012. © Edward Burtynsky
Shipbreaking #46 - Chittagong, Bangladesh 2001. © Edward Burtynsky
Dryland Farming #2, Aragon - Monegros County, Spain 2010. © Edward Burtynsky
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Cape Coral #1, Florida - Lee County, USA 2012. © Edward Burtynsky
Shipbreaking #46 - Chittagong, Bangladesh 2001. © Edward Burtynsky
Dryland Farming #2, Aragon - Monegros County, Spain 2010. © Edward Burtynsky
Xiluodu Dam #4, Yangtze River - Yunnan Province, China 2012. © Edward Burtynsky
Markarfljót River #3, Erosion Control - Southern Region, Iceland 2012. © Edward Burtynsky

Exploring the Residual Landscape

“Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.

These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times”. (Edward Burtynsky)

Courtesy: Admira, Milan

Irene Kung
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Palma 2, D-print on rag paper, 39.4” x 39.4“ (100 x 100 cm). © Irene Kung
Gingko, 2013, D-print on rag paper 39.4” x 39.4“ (100 x 100 cm). © Irene Kung
Albero Genitore, 2013, D-print on rag paper, 39.4” x 39.4“ (100 x 100 cm). © Irene Kung
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Palma 2, D-print on rag paper, 39.4” x 39.4“ (100 x 100 cm). © Irene Kung
Gingko, 2013, D-print on rag paper 39.4” x 39.4“ (100 x 100 cm). © Irene Kung
Albero Genitore, 2013, D-print on rag paper, 39.4” x 39.4“ (100 x 100 cm). © Irene Kung

Irene Kung was born in Switzerland and trained as a painter. Based in Switzerland after many years abroad, her work has achieved international recognition. In the past few years she has expanded her repertoire to include Photography.
Her subjects range from architectural monuments to exotic plant life and Argentinian horses.

Courtesy: Contrasto Galleria, Milan

Ishiuchi Miyako
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Frida by Ishiuchi#86, dated, titled, editioned and signed on verso in pencil, 76 x 112.5 cm. Edition of 10. © Ishiuchi Miyako
Frida by Ishiuchi#2, dated, titled, editioned and signed on verso in pencil, 112.5 x 76 cm. Edition of 10. © Ishiuchi Miyako
Frida by Ishiuchi#92, dated, titled, editioned and signed on verso in pencil, 47 x 31,5 cm. Edition of 10. © Ishiuchi Miyako
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Frida by Ishiuchi#86, dated, titled, editioned and signed on verso in pencil, 76 x 112.5 cm. Edition of 10. © Ishiuchi Miyako
Frida by Ishiuchi#2, dated, titled, editioned and signed on verso in pencil, 112.5 x 76 cm. Edition of 10. © Ishiuchi Miyako
Frida by Ishiuchi#92, dated, titled, editioned and signed on verso in pencil, 47 x 31,5 cm. Edition of 10. © Ishiuchi Miyako
Frida by Ishiuchi#109, C-type print dated, titled, editioned and signed on verso in pencil, 31.5 x 47 cm. Edition of 10. © Ishiuchi Miyako

Frida by Ishiuchi Miyako (2013) is a photographic record of Mexican artist Frida Kahlo’s wardrobe and belongings. Following Kahlo’s death in 1954 her husband Diego Riviera began placing her personal effects into the bathroom of their Mexico City house, “The Blue House”, which later became the Museo Frida Kahlo. Ishiuchi Miyako was invited to photograph these artefacts, over 300 relics of Kahlo’s life.
Ishiuchi Miyako (b.1947) is a celebrated Japanese photographer known for her poignant images confronting trauma in post war Japan. In 2014 she received the prestigious Hasselblad award and her solo exhibition titled “Postwar Shadows” opens at the Getty Museum in Los Angeles in October 2015.

Courtesy: Micheal Hoppen Gallery, London

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