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Ines Weizman

@inesweizman

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@rca_soa_pgr, @documentary_architecture

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Phoenix 360 by @inesweizman

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23 days ago

Probably one of the best shows I have ever seen. Unexpectedly at the Guggenheim. What a tremendous project by Taryn Simon. Playful, absurd, funny, investigative, but as you move up increasingly devastating and horrifying. By the end I was laughing and crying at the same time. And do beautiful how the artist works with the architecture, using every corner or niche as an invitation to amplify her narrative. Brilliant! by @inesweizman

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24 days ago

‘A Woman in Tangiers’, 1935
Ines Weizman
print on C-type gloss paper in stained beechwood frame with UV art glass
2023
edition of 24 + 1 AP
26.5 x 28.5 x 2 cm

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In ‘A Woman in Tangiers’, Ines Weizman gives us a sneak peek into her practice of Documentary Architecture: the art of examining archival images for what they tell us about a vanished time or place.

Here she reveals “one of the treasures I keep revisiting”: a photograph of 1930s Tangiers, and shows us what’s being cut. Dutch photographer Willem van de Poll’s street scene is intended to display a timelessly North African kasbah, in which Berbers in turbans and tunics carry straw baskets and clay pots. To create this Orientalist effect, he’s removed the figure of a woman fashionably dressed in European clothes. Weizman restores the European woman to the street scene in order to suggest the real complexity of twentieth-century North Africa under colonial rule.

- ‘A woman in Tangiers: against erasure’ Ines Weizman “The European Review of Books” Issue Ten

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enquiries: gallery@belmacz.com taken in Davies Street Mayfair by @inesweizman

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a month ago

by @inesweizman

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8 months ago

A bit late for an architectural historian, but finally made it to the Woodland Cemetery. So beautiful in snow and sunset! by @inesweizman

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2 years ago

Got the address. by @inesweizman

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2 years ago

by @inesweizman

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2 years ago

Monday morning. by @inesweizman

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2 years ago

Becoming tree. by @inesweizman

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3 years ago

Thank you to The British Journal of Photography for reviewing ‘Hunting in Time’ in their latest issue, 7916, The Portrait Issue:

‘Hunting in Time begins with an extended essay by Ines Weizman, which sets the scene for Porat’s project. Based on her three exhibitions in Israel between 2016 and 2018, it is a “detective yarn evidence board” centred on the murder of a Berlin clockmaker in 1930.....The opening inscription is ‘everybody knew’ accompanied by one of Ulbrich’s portraits, a woman clasping her hand across her chest in a striped dress. What follows is a compilation of archive photographs, first in assemblages which Porat calls ‘index sheets’, and then in sparser, more associative arrangements. Pictures of women blur and fold into image ephemera drawn from contemporary psychiatric, jewellery and surgical instrument catalogues, as well as early designs of corsets and chastity belts. Also interspersed are photographs by Martin Munkácsi, August Sander, Clare Strand, Batia Suter and Francesca Woodman; all bearing the shadowy, ashen palette which gives the book its visual continuity....There is no resolution or “solving of the puzzle” here, Weizman reminds us. Instead, Hunting
in Time lies somewhere between a sociocultural study of the ominous late-Weimar period and a captivating archive presentation, which reflects this time of intrigue, suspicion, visual innovation and shifting morals.’ taken in London, United Kingdom by @inesweizman

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3 years ago

by @inesweizman

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3 years ago

by @inesweizman

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3 years ago