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- Dan_Holdsworth abstract "Dan Holdsworth is a British photographer, who regularly exhibits internationally. Born 1974, Welwyn Garden City, England, UK, Lives and works in Newcastle upon Tyne.Holdsworth was born in 1974 in Welwyn Garden City, England. He studied photography at the London College of Printing, and has exhibited internationally including solo shows at BALTIC Centre for Contemporary Art, Gateshead, and Barbican Art Gallery, London; and group shows at Tate Britain, London, and Centre Pompidou, Paris. He was short-listed for the Beck's Futures Prize in 2001, ICA, London. His work is held in collections including the Tate Collection, Saatchi Collection and the Victoria and Albert Museum, London. In March 2012, Holdsworth published Blackout with Steidl BG. Blackout was the first book to be published by the Steidl Brancolini Grimaldi imprint.• Early Work• Blackout• Transmission: New Remote Earth Views• Awards and Fellowships• Exhibitions•Monographs• RepresentationEarly WorkPhenomenology of technology, place, and consciousness are mere starting points for Dan Holdworth’s photographs; neither documentations nor fictions, his landscapes evoke haunting evidence, a kind of knowledge that extends beyond immediate cognition. For Holdsworth, photography, with its technical precision and inherent wonder, its malleable power of authority, is treated as a challenge to limitation’s excess. Taking up to a year to produce, edited through primarily analogue processes, Holdsworth’s photographs tease out the invisible ‘truths’ imperceptible to the naked eye. His fantastical images aren’t elaborate deceptions, but rather astounding articulations of what is actually caught on film.Holdsworth emerged with series such as A Machine For Living (1999) and Megalith (2002), where familiar scenes of service stations, car parks, billboards, or broadcast towers loom as godforsaken outposts, antecedent inklings of a new apocalyptic frontier. Consumed by the exaggerated glow of neon and head lamps, the landscapes’ toxic-colour intensity and blurred movements suggest atomic fulguration, illuminating industrial structures like shrines. Holdsworth often uses extremely prolonged exposures to capture the ethereal essence of his scenes; the paradox of these images is that their hyper- acceleration is in fact slow-time aggregation: the lens’s observations over minutes, hours, days, record an unnoticed seething of energy, a plausible force of infernal propulsion.In the mid-2000s, Holdsworth began to source his otherworldly scenes from the truly exotic: the science fiction realities of the earth’s ends, from Europe to North and South America. Key examples from this period are The Gregorian (2005), and Hyperborea (2006) series, which were respectively shot in Puerto Rico at the American National Astronomy and Ionosphere Centre, and in Iceland’s interior, the film location of Jules Verne’s Journey to the Center of the Earth. Whether picturing a research centre in the guise of a UFO set deep within the jungle, or barren glaciers and mountains deadened beneath the spectacle of northern lights, these images recontextualise the far corners of the earth with faux virtuallity, fusing primordial wilderness and space age science in logic defying dimension.BlackoutThe series ‘Blackout’ (2010) is inspired by the infamous power failures in 1960s New York, an event which threw millions of people into darkness and prompted panic of nuclear attack. Holdsworth’s enormously scaled prints, however, are of mountains dazzling with crystalline allure, refracting not in light, but rather its total absence. Taken in Iceland, a volcanic netherworld where day is night and ice is sooty pitch, Holdsworth’s negative images are literal double inversions; their black and white clarity negates all natural logic. Their effect is sheer magic, the sublime made modular and spectacularly tangible: glaciers transform with sculpted solidity, as if they could fit in the palm of a hand, escarpments buckle with the scratchy translucency of glass, containing prisms of spectral hues, and expanses of atrementaceous sky bear down, suffocating as all consuming voids.The actualization of Holdsworth’s images is made no less delusive; in reproduction his photographs appear as digitalized ideals, however in the flesh they are more suggestive of hand-crafted media. Sharp mountain-scape peaks or geometric architectural structures often convey a gem-cutters draughtsmanship, their strange aesthetics, like diagrammatical etching, merges ideas of mapping, engineering and futurism; while most others delve into the realm of almost pure abstraction, as illusively textured and gestural as painting, conceiving terrain as a palpable geo-psyche surface, a synaesthetic confusion between sight and touch. Holdsworth’s photographs recast the world with renewed mystifying power: as liminal spaces between reality and its dissolve. Each one a stolen moment, captured in the momentary blink of a shutter: beautiful, mesmerising, larger than life, and absolutely inexplicable.Blackout was first exhibited at Patricia Low Contemporary, Geneve, in 2010. This exhibition included the works Blackout 08Blackout 13, Blackout 09, Blackout 07.In 2011 Holdsworth exhibited further Blackout works at major exhibitions at BALTIC Centre for Contemporary Art, Gateshead, UK, and Nordin Gallery, Stockholm. Each exhibition included a different selection works from the series. Holdsworth also worked with CIRCA Projects to produce an off-site lightbox installation ‘Blackout 10’, which ran alongside the exhibition ‘Blackout’ at BALTIC, Gateshead. The lightbox installation was Holdsworth’s first public installation commission, and the first in a series of large-scale lightbox works.In 2012 the publication ‘Blackout’, published by SteidlBG, was launched at Brancolini Grimaldi, London. The publication contains the complete Blackout series and a new text written by British science writer and editor, Oliver Morton.Transmission: New Remote Earth ViewsIn Dan Holdsworth’s latest series Transmission: New Remote Earth Views, he appropriates topographical data to document the ideologically and politically loaded spaces of the American West in an entirely new way. In his images of the Grand Canyon, Yosemite, Mount Shasta, Mount St. Helens, Salt Lake City and Park City, we see stark, uninterrupted terrains where meaning is made through what it is absent, as much as what is seen. What at first appears to be a pure white snow-capped mountain is in fact a digitally rendered laser scan of the earth appropriated from United States Geological Survey data, a ‘terrain model’ used to measure climate and land change - to measure man’s effect on the earth. Belying his empirical methodology is the fact that each of these terrains has a rich and conflicting cultural legacy. Beginning with the idealized aesthetic of the Romantic sublime via the deadpan industrial frames of the New Topographics photographers a century later, each has been subject to the gaze of artistic, political, and sociological categories claiming this territory as their own. Extending ideas of the frontier and seeing anew, Transmission captures the world as if from space, functioning not only as a map of the land but as a mapping of the discourses that these lands have come to represent. Working outside of the wilderness myths that render the images from the photographic avant-garde the ‘after’ to nineteenth-century visions of Carlton Watkins’ ‘before’, Holdsworth opens up a working territory that is open to the ambiguous and ethereal, oscillating between realms of art and science, the familiar and the alien, the industrial and the natural. Without the signifiers of the natural there is no idealised wilderness or picturesque aesthetic, no invoking of the Romantic version of the sublime; and yet at the same time what is antithetical to these visual tropes - the man-made, the artificial, the vernacular of the New Topographics photographers - is also absent. With neither the schema of the romantic nor the everyday to guide us, Holdsworth absorbs us into a vision of the unknown; a space that is unequivocally, transcendentally, Other.Transmission: New Remote Earth Views was first presented in a new exhibition at Brancolini Grimaldi, London, UK in March 2012.Awards and Fellowships2008 Visiting Fellowship, The European Centre for Photographic Research, Newport, University of Wales2007 Short listed for the Northern Art Prize, Leeds Art Gallery, Leeds, UK2006 Arts Council of England Award, UK2002 Arts Council of England Award, UK2001 Short listed for Beck’s Future’s Prize, ICA, LondonSelected solo exhibitions2012Transmission: New Remote Earth Views, National Glass Centre, Sunderland, UKTransmission: New Remote Earth Views, Brancolini Grimaldi, London, UK2011Blackout, Nordin Gallery, Stockholm, SwedenBlackout, PF Gallery, Poznan, PolandBlackout 10, CIRCA Projects, Gateshead, UK2010Blackout, BALTIC Centre for Contemporary Art, Gateshead, UKBlackout, Patricia Low Contemporary, Geneva, Switzerland2007Ultravisitor, Patricia Low Contemporary, Gstaad, SwitzerlandGeographics, Dan Holdsworth + Paul Shepheard, MIMA, UKWhite Noise, Store Gallery, LondonAt The Edge of Space, Parts 1-3, Stills Gallery, Edinburgh, UK2006At The Edge of Space, Parts 1-3, National Maritime Museum, Greenwich, London, UK2005The Gregorian, Store Gallery, London, UK2003Dan Holdsworth, The New Art Gallery Walsall, Walsall, UK2002Black Mountains, Entwistle Gallery, London, UKDan Holdsworth, Chelsea Kunstraum, Cologne, Germany2001The World in Itself, Barbican Art Gallery, London, UKDan Holdsworth, Kohji Ogura Gallery, Nagoya, JapanDan Holdsworth, Entwistle Gallery, London, UKSelected Group Exhibitions2013Monuments, Scheublein+Bak, Zurich, SwitzerlandLandmark: The Fields of Photography, Summerset House, London, UK2012Looking at the View, Tate Britain, London, UKShifting Realities, Scheublein Fine Art, Zurich, Switzerland2011Pure Landscape, UBS Art Collection, Tokyo, JapanShifting Realities: Dan Holdsworth - Michael Reisch, Scheublein Fine Art, Schloss Sihlberg, Zurich, Switzerland2010Questions of Belonging, Middlesbrough Institute of Modern Art, UK5th Anniversary Exhibition, Patricia Low Contemporary, Geneva, SwitzerlandNuit Blanche, Patricia Low Contemporary, Geneva, SwitzerlandCRASH, Homage to JG Ballard, Gagosian Gallery, London, UKPhoto 50, The London Art Fair, London, UK2009A Picture of Us? Identity in British Art, Graves Art Gallery, Sheffield, UKSpace Invader, Aicon Gallery, London, UKSound Escapes, curated by Angus Carlyle, Space Studios, London, UKThe Little shop on Hoxton Street, Limoncello Gallery, London, UK2008Time to Play?, APT Web Gallery, Artist Pension Trust, Participant Inc. New YorkFrom Dusk Till Dawn, Darkness dreams and drama, The Arts Gallery, University of the Arts, London, UKMaterial Culture, Recently Gifted Works, Middlesbrough Institute of Modern Art, UKNight: A Time Between, Royal West of England Academy, Bristol, UK2007Northern Art Prize, Leeds Art Gallery, UKBienal de Lanzarote (Islas Canarias) organizada por el MIAC-Museo Internacional de Arte Contemporaneo de Lanzarote. SpainWeather Report, Climate Change and Visual Artists, CAAM, Centro Atlantico de Arte Modern, Las Palmas de Gran Canaria, SpainSpectacular City, NRW Forum Dusseldorf, GermanyAll Tomorrow’s Pictures, ICA, The Institute of Contemporary Art, London, UKHow We Are: Photographing Britain, Tate Britain, UK2006Modern-Life Painter,s Photography Collection, Centre Pompidou, Paris, FranceSpectacular City, The Netherlands Architecture Institute, Rotterdam, Netherlands2005Photography 2005, Victoria Miro Gallery, London, UKTemporal Landscapes, Harris Museum and Art Gallery, Preston, UK2004Aspects of Architecture: Photographs from the Victoria + Albert Museum, at the Graves Art Gallery, Sheffield, UK2003Consuming Nature + Man, Museum of Contemporary Photography, Chicago, USAA Bigger Splash: British Art from Tate 1960-2003, Pavilhao Luca Nogueira Garcez, Sao Paulo/Paco Imperial/Rio de Janeiro, BrazilArt Now Lightbox, Tate Britain, London, UKPrimary Colours, The City Gallery, Leicester, UK2002TRADE, Netherlands Photo Institute, Rotterdam, Netherlands2001Looking With/Out, East Wing Collection No. 5, Courtauld Institute of Art, Somerset House, London, UKHorizon, Arts Agents Gallery, Hamburg, GermanyUK/NY, Asprey Garrard Gallery, New York, USAAndrew Cross and Dan Holdsworth, John Hansard Gallery, Southampton, UKAntarctica, Entwistle, London, UKNeue Welt, Frankfurt Kunstverein, Frankfurt, GermanyTRADE, Fotomuseum, Winterthur, SwitzerlandDepartment, Changing Rooms, Stirling, Scotland, UKBecks Futures 2, ICA, London, UK; Fruitmarket Gallery, Edinburgh, Scotland Bluecoat Gallery, Liverpool, UK; Sotheby’s, New York, USA2000Photospin, Photographer’s Gallery, London, UKWhat We Call Progress, Gasworks, London, UK1999School Reunion, Wilkinson Gallery, London, UKLater, Focal Point Gallery, Southend, UKDepartment, Victoria Plaza, Southend, UKDub Housing, Camera Austria Gallery, Steirischer Herbst 99, Graz, AustriaPath, Chisenhale Gallery, London, UKSigns, Atlantis Gallery, London, UKMonographs2012Blackout. Published by Steidl BG, March 2012. Essay by British science writer and author, Oliver Morton.2005Dan Holdsworth. Published by Steidl, September 2005. Essays by Angus Carlyle and David Chandler and an interview by Charlotte Cotton.RepresentationSwitzerlandPatricia Low Contemporary, Geneva and GstadSCHEUBLEIN+BAK, ZurichSwedenNordin Gallery, Stockholm".
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