Eventi [ 09/04/2017 - EMOP The European Month of Photography

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The European Month of Photography
Luxembourg (biannual) is organized by Café Crème asbl since 2007 in
partnership with members of EMOP asbl (European Month of Photography asbl).

Over the past 10 years, almost all of Luxembourg institutions
participated in the event (Casino Luxembourg – Forum of contemporary
art, the Museum of Modern Art



28, rue Münster L-2160 Luxembourg-Grund

Tél: (+352) 26 20 52 1

Lu - Ven: 8h00 - 19h00
Sam - Dim: 10h00 - 18h00



the work of these four artists is very personal, it overlaps with
certain aspects of the theme of the 2017 edition of the European Month
of Photography “Looking for the Clouds”. Being artists of the intimate
and the everyday, they look at modes of existence where the familiar is
defined in a larger frame that is that of an aspiration to a
transcendental existence, where the virtues of humanity and in hope and
desire take their true place.

In his work Duccio Doretti develops a meditation on humanity that is
capable of inventing the atomic bomb and at the same time exploring
space and pushing beyond the boundaries of existence. If the former
reveals the formidable capacity of destruction which is inherent in the
history of man, the latter reflects the dream, the aspiration to
transcend. Doretti associates two dates, the explosion of the first
atomic bomb in 1945 and the first steps on the moon of Buzz Aldrin in
1969 which is also his birthday. His work highlights the fragility of
the human species, even the futility of existence. Seen from the the
moon, the earth appears as a tiny planet lost in space. Its delicate
nature threatened with destruction.

In its project “Trans Europe Migration – on the track of refugees between Greece and Germany”,

Rocco Rorandelli covers mankind in the form of fragments, of details
which can be observed as one moves closer to the object. By zooming in
on these images, one discovers a complete repertoire of humanity. The
baggage of these refugees brings witness of the unhappy part of their
journey, and what it means to be uprooted leaving everything behind. The
plastic bottles that litter the ground along the transit roads capture
the magnitude of this tragedy. The smile on the faces of the children,
hope in the eyes of their parents, offer a glimpse of the endurance of
those who made this difficult journey. The man who helps a woman through
a muddy stream and volunteers handing out provisions speak of a trait
inherent in humanity – compassion. The couple holding hands reveals a
discrete moment of intimacy otherwise difficult to find in a crowded
shelter. And finally, the cameras pointing to those who are resting show
that many questions remain unanswered, notably concerning the fate of
Europe and how these immigrants will shape its future in the coming

Rocco Rorandelli is very interested in issues related to migration.
Coming from an intercultural family – an Italian father and an American
mother – and his wife coming from India, he witnesses a world that he
discovers to more close and charitable when we ignore physical barriers.

“As above so below” by Bärbel Reinhard is a sort of newspaper evoking a
strange familiarity with objects, opening up to the hermetic idea of
​​correspondences not always obvious. She establishes a sort of map
based on a spontaneous and instinctive connection of objects and
experiences in a constellation that aims to create a personal archive.

In principle society relies on a set of fundamental codes that define
the a priori of all culture and impose an order on our experience. These
categories may seem vague and fragmentary.

Rather than creating a definitive inventory – providing the illusion of
possession or control – Bärbel Reinhard proposes a “combinatorics” which
reveals at the same time the dissociative character as well as the link
that is established between signifier and signified.

“Home” by Stefano Parrini is a project consisting of a series of images
emerging from the depths of space, functioning like the portholes of a
ship or the objective of a telescope shedding light on another universe –
in His case his personal and domestic universe. They are planets,
nebulae, meticulously chosen constellations of everyday life.

Parrini uses old rolls of film, taking fragments of images selected
accordingly, for example the end of the rolls or the first segments of
the film. It may also be the image of a home LED lamp. These images then
are listed and coded according to their location that will be marked on
a map, each image with an initial.

He so gives birth to a mini cosmos reflecting the macrocosm who is home to us all. (Pierre Stiwer)