Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frame from a Super 8 Film
Archival pigment print/
Hahnemühle Fine Art Pearl 285 gr
Size: 20 x 30 cm
Frames from a Super 8 Film
Archival pigment print/
on Hahnemühle Fine Art Paper
Size: 11,5 x 42,5 cm
phantom limb #23
Frames from a Super 8 Film
Silver gelatin print
printed on Archival Ilford Fiber base
Size: 18,8 x 24,5 cm
phantom limb #24
Frames from a Super 8 Film
Silver gelatin print
printed on Archival Ilford Fiber base
Size: 16,5 x 24,5 cm
Frames from a Super 8 Film
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 39 x 60 cm
Frames from a Super 8 Film
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 20 x 40 cm
Coney Island, Sandstorm
Frames from a Super 8 Film
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 50 x 70 cm
Coney Island, Sandstorm
Frame from a Super 8 Film
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 24 x 31,5 cm
Frame from Super 8 Film "Fire of Time"
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 25 x 33 cm
Frame from Super 8 Film "Fire of Time"
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 13 x 18 cm
Frames from a Super 8 Film
Archival pigment print/
Museo Silver Rag /
Archival Fine Art Paper 300 gsm
Size: 40 x 50 cm
Havana, Cuba, 2008
Film Frame
Archival pigment print
on Hahnemühle paper
Size: 13 x 18 cm
Havana, Cuba, 2008
Film Frame
Archival pigment print
on Hahnemühle paper
Size: 15 x 18 cm
Subway Brooklyn, 1986
Archival pigment print
on Hahnemühle paper
from Cibachrome original
Size: 15 x 18 cm
Anna, Berlin, 2020
Frame from a Super 8 Film
Archival pigment print
on cotton paper
Size: 24 x 30 cm
Porto
Film Frame
Archival pigment print
on Hahnemühle paper 325 gr
Size: 11,5 x 16,5 cm
Havana
Film Frame
Archival pigment print
on Hahnemühle paper 325 gr
Size: 32 x 40 cm
Orchard St.NYC 80’s
Film Frame
Archival pigment print
on Hahnemühle paper 325 gr
Size: 24 x 30 cm
Tryptic New York
Subway Brooklyn, 1986
Archival pigment print
on Hahnemühle paper
from Cibachrome original
Size: 15 x 64,5 cm
apr. 26 2022 – apr. 29 2022 Visits until May 31st 2022
Motion pictures
Adam Grossman Cohen / Lorenzo Castore
04 feb. 2021 — 30 jun. 2021 Extended until 20 sept. 2021
Andamento lento
Michael Ackerman Morten Andersen Luca Anzani Martin Bogren Lorenzo Castore Cristina Ferraiuolo Adam Grossman Cohen Richard Pak
Born in New York City in 1954. He lives in Berlin.
Adam Grossman Cohen is a Super-8 filmmaker and photographer working at the intersection of film, photography and poetry. The boundaries between photography and film merged, no longer separate, now; Motion/Pictures.
Here Time, captured on 8mm movie film becomes something fluid, flowing backwards and forwards, to be seen and re-seen.
And the cities in which he has lived for most of his life become places to explore themes of memory and forgetting, history and entropy.
With hours and hours of shooting in the streets of New York, Barcelona, Marseille, Naples, Havana, Krakow, Porto, Berlin, Lisbon and Odessa, his films attempt to picture the essence of places in constant change; places submerged in time.
Blind Grace (1993) is a tense, poetic essay on the marginal people and forgotten, neglected places of New York City. Fire of Time (2000) is a film made about a place both vanished and vanishing, the historic red-light district and worker’s quarter, Barcelona’s Barrio Chino. No Peace Without War, directed with Lorenzo Castore (2012) is the story of a forgotten world that takes place behind the door of a two room apartment in Krakow, where Ewa and Piotr, sister and brother, live together. Dangerously close to its subjects, this film succeeds in telling a remarkable and disturbing story about memory and loss.
Adam has had many solo printed exhibitions and screenings in galleries and art spaces around the world, and many of his films are in the collections of many prestigious international museums.
PHANTOM LIMB
The ‘phantom limb syndrome’ is basically the anomalous ability to feel sensations and even pain in body parts that no longer exist. Adam Grossman Cohen was inspired by the concept of the phantom limb to construct a personal metaphor for the power of images. Images that come to us from the past, although carrying within them the memory of places and people that no longer exist, are still able to strike us with all the force of their intensity. The same applies to images of strangers. In fact, in Phantom Limb there are not only images made by the artist, but also old photographs and objects collected over the years in flea markets all over the world, enriched with phrases from quotations, letters, notes and diaries. Through this combination of the artist’s own memories and objets trouvés, the “self” is thus mixed with the “other”, the artist’s existence is intertwined with those of anonymous strangers to create a single timeless and expanded memory.