ARNE SVENSON

阿恩史云逊
Арне Свенсон

Neighbors

Arne Svenson  3

source: highlike

Photographer: Arne Svenson, courtesy of Julie Saul Gallery, NY
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source: dailymailcouk

Residents at a luxury Manhattan apartment block are up in arms after discovering that a neighbor at a nearby building has secretly been taking their photographs to exhibit and sell.
Artist Arne Svenson freely admits to secretly photographing his neighbors at the exclusive 475 Greenwich St apartment block in TriBeCa, but claims he hasn’t done anything wrong.
His photographs are careful not to show anyone’s face in full, but they do show the residents engaged in a wide range of intimate and private activities including cleaning, taking a nap, watching television and carrying their sleeping kids to bed.
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source: theguardian

“It’s just plain creepy!” “This guy should be arrested.” “He’s a peeping Tom with a camera”. “These people had an expectation of privacy in their own home that was invaded by the perv, I mean photographer.”

The indignation that has greeted Arne Svenson’s series of images, The Neighbors, on comment forums has been colourful and occasionally unrepeatable. The 60-year-old surreptitiously snapped residents in the glass-walled apartments opposite his own in Tribeca, New York, and, without seeking permission from his subjects, exhibited them in a nearby gallery. Using a 500mm lens, he peeked into the lives of others – like a real-life LB Jeffries from the film Rear Window – and obliterated the assumed divide between the public and the personal. Unsurprisingly, two of his neighbours sued, having spotted their children among the subjects. Yet a court ruled this month that Svenson’s actions were defensible under the First Amendment’s guarantee of free speech, and that such art needs no consent to be made or sold.

Svenson says the verdict was “a great victory for the rights of all artists” and, although he remains wary of discussing the project, stresses that his motivation was only to observe the nuances of human existence. “I find the unrehearsed, unconscious aspects of life the most beautiful to photograph, as they are most open to interpretation, to a narrative,” he explains. “A dramatic moment has the single power of action, but tiny, linked moments are how we mark time on this earth – I am much more interested in recording the breath between words than I am the actual words themselves.”

Svenson’s images are not as sensational as they first seem. The identities of his neighbours, who are rendered with a soft, painterly effect, are obscured, and the choice of framing also leaves a sense of mystery. They are truthful, artistic representations of life which possess a subtle theatricality (a characteristic evident throughout his practice). That the chosen moments are so acutely observed makes them disturbing. Indeed, the mere sensation that we are being looked upon is, as Jean-Paul Sartre concluded, enough to haunt us.

The acclaimed photographer Michael Wolf, some of whose work is of a similar ilk to The Neighbors (especially Window Watching, in which he peeped into towerblock apartments in Hong Kong), acknowledged this when he expressed his own unease at the idea of being photographed if he was unaware: “I’m not sure how comfortable I would feel if I knew someone would come into my room while I was sleeping and take my picture. I think, spontaneously, I wouldn’t feel comfortable,” he said.

“I don’t photograph anything salacious or demeaning,” is Svenson’s stock retort when pressed on his work’s morality. “I am not photographing the residents as specific, identifiable individuals, but as representations of humankind.” Indeed, his work lacks the explicitness of Merry Alpern’s photographs of prostitutes (Dirty Windows) and the scopophilic drive of Miroslav Tichy’s homespun snaps of female bathers. But it is a selfish practice nonetheless. Not all such photography has artistic intent; the current show at the Photographers’ Gallery in London unearths a curious social project, Mass Observation, which began in 1937 with the aim of creating an “anthropology of ourselves”. Using a team of field workers and many modes of surveillance – undercover photography, eavesdropping and stalking among them – Mass Observation sought to record and examine the intricacies of British life. Its remit included such bizarre topics as behaviour of people at war memorials, the gestures of motorists, bathroom behaviour and the private lives of midwives.
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source: sueddeutschede

Ähnlich abseitig sind auch die Motive, die er sonst fotografiert. In Svensons Werk-Mappe finden sich zerkuschelte Spielzeugtiere, Katzenbabys, deren Gesichter nicht erkennbar sind und forensische Gesichtsrekonstruktionen von Leichen, die nicht identifiziert werden konnten – unter anderem von Opfern der nie geklärten Frauenmorde im mexikanischen Ciudad Juárez.

“Ich ziehe gern kleine Teile aus dem Leben heraus. Der Rest ist zu überwältigend”, sagt Svenson.
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source: zapside

Arne Svenson vient de lever le voile sur un nouveau projet photographique original appelé “The Neighbors”. Comme son nom l’indique, la série de photos met en scène les voisins du photographe qui ont été pris en photo à leur insu.

C’est dans le quartier TriBeCa / Triangle Below Canal Street de New-York que le photographe a pris son mal en patience pour photographier des hommes et des femmes dans leur vie quotidienne pour en faire une série très originale qui rencontre actuellement un très grand succès. Arne Svenson a particulièrement soigné le cadrage de ses clichés pour un résultat très impressionnant.

Les photos sont actuellement exposées dans la galerie Julie Saul au 525 West 22nd Street à New York. Certaines photos ont été vendues 7500 dollars, de quoi faire tourner pas mal de têtes. Mais tout le monde n’est pas convaincu du potentiel artistique de la série du photographe puisque certaines personnes n’approuvent pas du tout son travail. En effet, si l’homme reste des heures à surveiller ses voisins, il a dû prendre des centaines de photos afin d’en ressortir une petite sélection ce qui n’est pas du goût de tout le monde. Dans un style tout autre, Gyyp préfère utiliser Photoshop pour croiser différents animaux !
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source: flipermag

究竟是真偷拍假藝術還是真藝術假偷拍,長久以來「偷窺」一直是藝術家不斷挑戰主觀議題,在模糊關係界定下私自窺探剝索,帶出激情火花即是偷窺的成癮原因。紐約攝影師Arne Svenson再度挑戰人權隱私問題,以藝術名義公開販賣偷拍系列作品「The Neighbors」,即便反對聲浪曾未停歇,遭受被告涉嫌侵犯隱私等,Arne Svenson依然堅持乃此藝術創作,未有侵犯之嫌。
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source: photographixel

Svenson enumerou quatro influências estéticas. Três vêm da pintura: a luz e as cores do holandês Johannes Vermeer (1632-1675); a estrutura compartimentada, do também holandês Piet Mondrian (1872-1944) e o retrato da vida urbana do americano Edward Hopper (1882-1967). A elas, soma “Janela Indiscreta” (1954), filme de Hitchcock (1899-1980) cujo protagonista é um fotógrafo curioso.
Há paralelos entre a série de Svenson e a pesquisa fotográfica do brasileiro Felipe Morozini, 38. Nos últimos dez anos, fez 180 mil fotos de sua vizinhança, da sacada de seu apartamento no 13º andar de um prédio no centro de São Paulo. Foram exibidas 68 fotos; nenhuma foi alvo de ação.
Há pessoas nuas, com roupa de baixo, almoçando, tomando sol ou conversando. “Não me sinto desconfortável por mostrar essas pessoas. Não busco a falha do outro, mas a poesia.”

A atividade de Svenson se assemelha à de fotógrafos de rua e paparazzi, pela falta do consentimento dos fotografados. “A maioria dos fotógrafos ama falar sobre liberdade de expressão, como se só isso importasse. Tenho restrições a essa abordagem. Algo legal não é necessariamente ético.”
Svenson evitou discutir privacidade ou ética. “Sou um artista que fala a partir das minhas fotos”.
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source: runyweb

Жители роскошного многоквартирного дома на Манхэттене неожиданно и с возмущением обнаружили, что сосед из здания напротив тайно фотографировал их, выставляя затем снимки на продажу. Уличенной художник Арне Свенсон (Arne Svenson) спокойно признается в своей секретной фотосъемке, утверждая при этом, что не делал ничего дурного.

Хотя на фотографиях Свенсона не показаны чьи-либо лица, на них откровенно запечатлен широкий диапазон домашней повседневной деятельности: уборка, полуденный отдых на диване, просмотр телепередач, укладывание детей и прочие приватные вещи, ничего не подозревавших соседей.
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source: artigianeidewordpress

Immaginate di abitare in un lussuoso condominio, uno di quelli con grandi finestroni e che, a vostra insaputa, un vicino inizi a fotografarvi.

‘The Neighbors’ è un progetto di Arne Svenson, una serie di scatti in bilico tra voyeurismo e ricerca antropologica dove l’intimità delle case diviene pubblica e artistica.
Un ragazzo dorme sul divano, un cane contempla il paesaggio oltre la vetrata, una signora pulisce il pavimento di spalle: sono queste alcune delle scene “ritratte” dall’obiettivo di Svenson, attimi rubati capaci sì di affascinare l’occhio di chi guarda, ma soprattutto, considerando il numero di cause legali in corso, di fare infuriare gli ignari protagonisti.
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source: eltornilloquetefaltawordpress

Hace tiempo que quería enseñaros el trabajo del fotógrafo estadounidense Arne Svenson.

En especial, su serie “The Neighbors“ que está formada por fotografías que el artista toma, desde su estudio, a las ventanas de sus vecinos de Manhattan.

Un proyecto que ha dado mucho de qué hablar…

Por un lado por la calidad de las imágenes, que podríamos englobarlas dentro de la fotografía documental, y por el interés que despierta ese voyeurismo tan indiscreto que nos incita a todos a seguir mirando.

Por el otro, por las quejas de robo de la intimidad que ha despertado entre los retratados. El autor, obviamente los fotografió sin su consentimiento y estos le denunciaron.

Ahora un tribunal le ha dado la razón.

“No pretendo fotografiar a la gente como individuos específicos, identificables, sino como meros representantes de la especie humana, de nosotros mismos. Cuidando de no revelar sus identidades, a la postre la fuerza de las imágenes reside en que podemos vernos a nosotros mismos en esas figuras anónimas.“
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source: manzardcafebloghu

Megfigyelni, nézegetni másokat nagyjából bárki számára érdekes és értékes pillanatokat szerezhet, főleg, ha az ítélkezést vagy az összehasonlítást ki tudjuk hagyni a képletből. Hogy hogyan is kell ezt csinálni, arról ma Arne Svenson fotós mutat számunkra érzékletes példát The Neighbors című folyamatban lévő sorozatával.

Az amerikai művész felvállaltan szeret leskelődni, mások lakásába bekukkantani, kamerájával meglehetősen intim és személyes pillanatokat megörökíteni a manhattani ablakokban, azonban ezt művészi és kifejezetten elegáns formában teszi, segítve nekünk is, hogy lényeges dolgokra próbáljunk meg odafigyelni.