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LIGHT, TIME, POSITIONING, POSTCARD - Abel Minnée & Tom Lore de Jong

Galleries Torch

Lauriergracht 94
1016 RN Amsterdam
info@torchgallery.com
+31 (0)20 6260284

Open Wed - Sat / 12-18 hrs
+ by appointment

5 Sep — 10 Oct

Time 5 Sep, 17-19 hrs

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On Saturday the 5th of September TORCH gallery opens with LIGHT, TIME, POSITIONING, POSTCARD; a duo-exhibition by the young, promising artists Abel Minnée and Tom Lore de Jong. This exhibition will coincide with the fourth edition of UNSEEN, the international fair for photography in Amsterdam. Abel Minnée has been selected through the Foam Magazine Talent Call to show his work on this art fair. Both artists approach visual concepts from the factual and technical properties of the chosen medium and material. In these works subject and carrier are very closely connected, hardly allowing for any explanation or external narrative.

The images and installations resulting from this method are provocative in their literalness. These analytical pieces seem to be searching for visual definitions, for either the reduction or hyperbolic exaggeration of illusions. Both Abel and Tom expertly employ the change of visual information that occurs when attempting to capture an object or concept. Every methodical consideration is made explicit within the pieces themselves, making their decisions key to the understanding of the concepts. Perception becomes rendition and observations are posited as cautious considerations. Poetical and highly personal subjects are presented as the dry sum of factual information. These images seem honest and hesitant to offer any suggested meaning, allowing for the spectator's projections to provide their substance.

Contrary to the conceptual photography of the sixties and seventies – exemplified by Bernd and Hilla Becher – these young artists are not out to unveil the impersonal, underlying systems of the world. In stead of looking for the truth behind the spectacle they are focused on making clear decisions and orderly selections. Abel Minnée uses techniques and styles found in marketing and stock-photography but removes all commercial motivations. His refined photographs generate expectations of perfection which stubbornly remain unfulfilled. Colour balance, sharpness and composition represent an almost clinical void of meaning but carry just enough of a concept to remain interesting. Tom Lore de Jong uses minimal material for conceptual expressions of grand eloquence. The trajectory of a single fly in a swarm or the combined hue of all human skin don't offer any usable overview or insight but rather emphasize the aesthetic and poetical value of reduced information.

 

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