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| | | | Ville Lenkkeri: Reality in the MakingText by Robert Enoch.
Early in his career, Ville Lenkkeri studied film, and film remains a strong influence. In one series titled Movies, the young Helsinki School photographer (born in 1972) investigated the relationship between cinema and photography; his latest, The World As We Know It, employs a cinematic strategy. Here, he photographs paintings and scenes-within-a-scene, from murals in waiting rooms to three-dimensional dioramas in natural science museums, trompe-l'oeil art in settings he describes as "public places to which people do not have intimate relationships, but still a relationship…often the people in pictures have worked in these places for a long time." The presence of such a figure, a museum guard or a visitor, heightens the ambivalence the artist is looking for, keeping readers in the disturbing, unfocused zone between reality and fiction.
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| | | | |  | KERBERISBN: 9783735602572
USD $45.00 | CAN $60Pub Date: 2/28/2017
Active | In stock
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|  | KERBERISBN: 9783866789753
USD $60.00 | CAN $79Pub Date: 3/24/2015
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FORMAT: Hardcover, 11.75 x 9 in. / 144 pgs / 74 color.
LIST PRICE: U.S. $40.00
LIST PRICE: CANADA $50
ISBN: 9783775718806
PUBLISHER: Hatje Cantz
AVAILABLE: 1/1/2007
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA | D.A.P. CATALOG: SPRING 2007 Page 122 | PRESS INQUIRIES
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| Ville Lenkkeri: Reality in the Making Published by Hatje Cantz.
Text by Robert Enoch. Early in his career, Ville Lenkkeri studied film, and film remains a strong influence. In one series titled Movies, the young Helsinki School photographer (born in 1972) investigated the relationship between cinema and photography; his latest, The World As We Know It, employs a cinematic strategy. Here, he photographs paintings and scenes-within-a-scene, from murals in waiting rooms to three-dimensional dioramas in natural science museums, trompe-l'oeil art in settings he describes as "public places to which people do not have intimate relationships, but still a relationship…often the people in pictures have worked in these places for a long time." The presence of such a figure, a museum guard or a visitor, heightens the ambivalence the artist is looking for, keeping readers in the disturbing, unfocused zone between reality and fiction.
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