PIN UP !

Pin-Ups – everyone knows these images of young, beautiful women (and sometimes, but rarely men) in more or less erotic poses. These photographs have always been secretly affixed to the inside of lockers, books or wardrobe doors – on the inside of course – not for everyone to see.

However, after a while, the photographs start to fade, they get dog-ears and eventually they fall off. They fall victim to time – a process that is inevitable.

In the times of social media we upload photographs of ourselves posing in all kind of ways on a daily basis. We prostitute ourselves on facebook, instagram or pinterest etc. We “pin” ourselves to virtual walls. Sometimes we would like to “un-pin” us – but unsuccessfully so: Because the internet does not forget. Everything remains in the virtual long-term memory whereas the virtual short-term memory is constantly filled with new images every second of every day. There is no time to age, to fade. In this new form of voyeurism everyone looks at everyone and is looked at by everyone all the time.

What all the images have in common though are the desires they represent: secret, sexual, tabooed phantasies and it is hard to judge these dreams by political or gender sensitive criteria.

Pin-ups are the realisation of these desires. One cannot censor them, as dreams and phantasies and thoughts are free – that is until their realisation of course.

Dr. Judith Innerhofer

Jeremy Ayer | Maxime Ballesteros | Annika Bauer | Hanna Becker | Boy Behnke | Kate Bellm | Christian Debus | Patrick Desbrosses | Uwe Ditz | Viviana Druga | Pari Dukovic | Alexandra Kinga Fekete | Laurent Friquet | Lukas Gansterer | Alexander Gnädinger | Marcel Goetz | Isabelle Graeff | Meinrad Hofer | Hadley Hudson | Fred Hüning | ioulex | Daniel Josefsohn | Susanne Junker | Ali Kepenek | Frank Krems | Dagmar Kolatschny | Florian Kolmer | Paul Kranzler | Krystian Lipiec | Sean Mackaoui | Martin Mlecko | Chad Moore | Daniel Müller-Jansen | Mark Pillai | Marlies Plank | Hanna Putz | Florian Raz | Johanna Ruebel | Ashkan Sahihi | Jenny Schäfer | Carlito Schiliro | Valerie Schmidt | Straulino | Eva Tuerbl | Dorothea Tuch | Nicholé Velasquez | Melanie Vogel | Christoph Voy | Lisa Wassmann | Anja Weber | Marina Weigl | Christian Werner | Paula Winkler | Martin Zellerhoff

Exhibition from the 20th of February to the 20th of March 2015, 4-8 pm

Pavlov's Dog Gallery
Bergstrasse 19
10115 Berlin

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COORDINATES , Dakar , Senegal May 2014

"COORDINATES , a journey that reveals the infinite layers of space "

DAK’ART OFF 2014 11° Biennale of African Contemporary Art

A journey that reveals the infinite layers of space.

Maimouna Guerresi | Ruben Brulat
George Osodi | Silvia Grav
Giada Connestari | Carlito Schiliro`
Jean Baptiste Joire | Martina dal Brollo
Chiara Sorgato | Enej Gala

Vernissage 15th May at 18:00

Exhibition 15th - 23th May 2014

Aere View works from one year to the promotion of contemporary art expressed in all its forms.
Dakar is a meeting point, a common thread that binds the geographical coordinates and the sensitivity of the founders of the magazine, artists and collaborators, far away in space, but united in Aere View, focusing on the similarities rather than the differences by joining the points of view , how to observe the space and to prevail in it.
Thus was born COORDINATES, a journey that reveals the endless layers of space in relation to the human being.
The space is a container, but it can also be content: faces and facets of a prism that we anatomized and reset into a graphic like a Cartesian coordinate system, synthesizing each sensitivity of each selected artist, a horizontal axis that grows with experiences, and its locating compared to Space, a vertical axis which rises mystically.
The result of these coordinates will be the exhibition itself, a map of the human experience coming in and out of Infinity now mental now concrete spaces.
In close connection with a more geographical view, meridians and parallels of the East and the West, the coordinates’ mothers whose distances and spacial equilibrium are conventionally constant but whose content depends on the sensibilities that inhabits every part of the World.
As a result they will be stuck together in the exhibition, where coordinates become an unified vision of coexistence of parallels and points of view and not desegregation.

The journey affirms a concept of the concrete space which man tends to dominate despite the obstacles dictated by physical distances.

“Mind Control” by Carlito Schilirò returns to the theme of mimesis with a modern touch, playing with fashion, mixing styles and patterns. The mask, recalling traditional African bodily adornments, is a clear symbol of the interior and exterior dialectic of the human being and the surrounding space.
The limits of the context are increasingly blurred and softened, transforming the face of a man in a timeless african mask, negotiating a mysterious memory that creates contrast with fashio- nable clothes,without ever creating friction.

Curated By Adji Dieye and Gloria Manigrasso

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STATUES

A study by Carlito Schilirò

Der in Italien geborene freischaffende Fotograf, Art Director und professionelle Journalist wuchs in Deutschland und Belgien auf. Carlito lebte mehrere Jahre in Japan, wo er für bedeutende italienische und internationale Zeitschriften unter anderem im Bereich der Mode tätig war.
Seine Wurzeln liegen jedoch im journalistischen Feld, was in der Auseinandersetzung seiner Arbeit STATUES in einem neuen Verständnis der Objektivität umgesetzt wird.
Denn trotz unglaublich feinfühliger Weiblichkeit, erzielt Carlito mit seinem beobachtenden Blick eine gewisse objektive Distanz. Nicht im Sinne dokumentarischer Fotografie, ganz im Gegensatz, durch eine sehr subjektive Blickführung wird das Sujet zum Objekt. Carlito behandelt die Oberfläche des Körpers so, dass sich auf eine sehr zarte Weise die menschliche Haut in Stein verwandelt. In diesem Sinne wird das Model zur Statue. Die skulpturale Komponente und Verfremdung des Körpers wird durch das Nicht-viel-Preisgeben herbeigerufen. Die Oberfläche des Körpers rückt in den Vordergrund und die sich darunter befindende Identität verschwindet in Anonymität. Dem Model wird seine Subjektivität entzogen, das Motiv wird zur griechischen Skulptur. Die Realität erscheint im Kontext einer Illusion des Körpers.
Dabei war es der Wunsch nach einer non realen Wiedergabe der Realität, welche die Anfänge der Künste antrieb. Noch bevor sich die bildenden Künstler die räumliche Tiefenillusion aneigneten, perfektionierten die Griechen die Illusion anthropomorpher Skulpturen.
Das Medium der Skulptur, gerade weil es in ihrer taktilen Natur und der Dreidimensionalität der Realität nahe liegt, strebte nach einem Naturalismus. Die Antike schuf ästhetische Ideale - wie Winkelmann schrieb „Einfalten stiller Grösse“ - und strebte dabei mit dem Bedürfnis Skulptur Echt- werden zu lassen, nach einem größtmöglichem Realitätsbezug.
Das Streben nach einer geschaffenen Realität, das Lebendigwerden lassen eines Ideals, wie sich Ovid`s Pygmalion seine Galatea echt wünscht, ist ein romantischer Gedanke welcher bis zur Loslösung des Illusionismus in der Kunst immer wieder aufs neue thematisiert wird.
Sowie griechische Bildhauer sich ihre Illusion der Realität formten, so wird bei STATUES Realität zur Illusion.

Kurartiert von Carla Patricia Kojich

Exhibition from the 7th of June to the 30th of June 2013, 4-8 pm

Rückblick Studio

Oldenburger Strasse, 5

10551 Berlin

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Macht Kunst 2013

Group Exhibition

Kunsthalle Deutsche Bank

Unter den Linden 13-15, 10117 Berlin

http://www.deutsche-bank-kunsthalle.de/kunsthalle/de/

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The Temporary Gallery Exhibition - "Love Never Dies"

In the attempt to bring photography back to the masses, guerrilla style, I staged a street art performance titled "Love Never Dies". You can still find the exhibition right in front of the Accademia di Belle Arti in Via di Ripetta, 77 in Rome. I'll be performing once every month in different locations in the city of Rome and abroad.

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