OPIO (FRANCE). S’intitola “Moving Stills” la mostra con scatti di Stephan Zirwes esposti fino al 16 giugno alla Opiom Gallery.
L’artista tedesco, terzo ai Sony World Photography Award 2016 nella categoria Architecture, porterà in mostra per la prima volta in Francia i suoi scatti aerei, realizzati con un drone. Accantonata per poco l’amata Hasselblad, Zirwes per realizzare questo progetto ha preferito utilizzare un drone capace di catturare immagini ad altissima risoluzione (4K) in cui le persone appaiono come piccole formiche i cui movimenti, nel totale della scena, appaiono irrilevanti, superficiali, a tratti anche comici.
Le sue immagini mettono in dubbio la nostra concezione tradizionale del tempo e in evidenza l’aspetto transitorio dei nostri gesti quotidiani. Non solo: questo antagonismo di ritmo, insieme con la visione onnipotente dal cielo, impregna lo spettatore con una forma di identità divina e invita a fare un passo indietro per riflettere sul nostro rapporto con il nostro pianeta.
MOVING STILLS
Stephan Zirwes
May 13th, 2016 — June 16th, 2016
Opiom Gallery
From May 13th to June 16th, OPIOM Gallery is pleased to present MOVING STILLS by German artist Stephan Zirwes, winner of the Sony World Photography Award 2016 (3rd prize in Architecture category). To complement his aerial photography, his recent video works filmed with an ultra high resolution drone (4K), will be exhibited for the first time in France. In his recent video work entitled ‘Moving Stills’, Stephan Zirwes remains faithful to his now classic bird’s-eye shots. Still attached to his Hasselblad for all photographic works, he swapped his camera for an ultra high resolution drone (4K). For the first time in history, a completely static aerial video is presented before our eyes. Setting his focus on a fixed background, the characters are the only source of all action. Coming in and out of the frame, they appear like swarms of little ants on the ground. Their motion becomes irrelevant, almost comical.
It is, at first, the earth and then, the superficial activities that are carried out on top of it, that Stephan Zirwes explores. He questions our traditional conception of time by highlighting the transitory aspect of our daily acts, face to face with terrestrial permanence. This antagonism of pace, along with the omnipotent vision from the sky, imbues the viewer with a form of divine identity; it invites us to take a step back and meditate on our relationship with our planet.
