Ausstellungskatalog, London, Beetles & Huxley and Osborne Samuel Gallery, 25.11.-24.12.2015.
Chris Beetles & Huxley, Osborne Samuel Ltd.
Text engl. - This extensive exhibition catalogue brings together 150 photographs spanning from 1910 to the present day. The catalogue traces the history of photography from its early developments through its rise in status as both creative and documentary medium; from war photography to contemporary fashion imagery. Osborne Samuel hosts limited editions of seminal works by the great names of early black and white photography, such as Robert Capa, Henri Cartier-Bresson, Bill Brandt and Melvin Sokolski, through to contemporary classics including The Kate Moss Portfolio by Mario Testino, Annie Leibovitz and Bruce Weber. Beetles+Huxley offer a more contemporary panorama, through photographers such as Ren Hang and Zhang Kechun.
Text engl. - Other ed.: Parallel edition: Santa Fe: Radius Books 2011 (same ISBN). - Die in Deutschland geborene Fotografin Renate Aller hat seit mehr als einem Jahrzehnt den Atlantischen Ozean von einem einzigen Punkt an der Küste der legendären Hamptons fotografiert. Ihre Bilder zeigen die sich unendlich verändernden Farben und Strukturen von Himmel und Wasser und die Schönheit und Größe des Ozeans. Sie lassen erahnen, was seit Generationen Menschen an diesen Ort gelockt hat. Die erhabene Schönheit dieses Aussichtspunktes, die Aller mit dem großen romantischen Maler des 19. Jahrhunderts, Caspar David Friedrich, verbindet, ist auch eine Metapher für die Landschaft der menschlichen Emotionen. Allers Standpunkt ist statisch, aber der Wandel von Wetter und Licht ermöglicht eine vielfältige Reihe von Bildern, die eine gewaltige visuelle Bibliothek von Erinnerungen und Assoziationen eröffnen. - Das Buch weist den subtilen Zauber sowohl von Allers großformatigen Prints als auch der originalen Ozeanlandschaften auf. Es enthält Essays des New Yorker Kritikers Richard B. Woodward und der Leiterin der Abteilung für Zeitgenössische Kunst der Hamburger Kunsthalle, Petra Roettig. Ergänzt werden diese Beiträge durch ein Gespräch mit der Kunsthistorikerin Jasmin Seck, die Allers Arbeiten in einen Kontext mit der Landschaftsfotografie und mit der Geschichte der Bilder von der Südküste Long Islands stellt.
Text engl.- "Brooklyn’s Domino Sugar Refinery, once the largest in the world, shut down in 2004 after a long struggle. Most New Yorkers know it only as an icon on the landscape, multiplied on T-shirts and skateboard graphics. Paul Raphaelson, known internationally for his formally intricate urban landscape photographs, was given access to every square foot of the refinery weeks before its demolition. Raphaelson spent weeks speaking with former Domino workers to hear first-hand the refinery’s more personal stories. He also assembled a world-class team of contributors: Pulitzer Prize–winning photography editor Stella Kramer, architectural historian Matthew Postal, and art director Christopher Truch. The result is a beautiful, complex, thrilling mashup of art, document, industrial history, and Brooklyn visual culture." (Publisher's text; seen 02.2018).
Ausstellungskatalog, Madrid, Fundacion Mapfre, 09.-12.2014; Arles, Les Rencontres d’Arles, 07.09.2015; Torino, Camera, Centro Italiano per la Fotografia, 09.-12.2015; C/O Berlin Foundation; 01.-04.2016; Amsterdam, Huis Marseille, 07.-09.2016.
Text engl. - The widely-celebrated French photographer Laurence Vidal has selected more than 100 black and white photographs taken since the 1970s during her travels in China. They highlight not quaint, historic or pretty aspects of China but seemingly -unposed situations of people living their daily lives in cities or rural contexts. A remarkable insight into life as it is.
Text engl. - The original plan for "Dystopian Circles" was a trip from Brussels to the edge - to Lampedusa. It became a perennial odyssey. Obersalzberg, Sarajevo, Athens. Brussels, Nordhausen, Zagreb. Belgrade, Reggio Calabra. The fort of Srebrenica, the Heysel Stadium. Places that are charged with European history....
Text engl. - „The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe’s distinctively Orientalist vision of the Middle East. As new advances enhanced the versatility of the medium, nineteenth-century photographers were able to mass-produce images to incite and satisfy the demands of the region’s burgeoning tourist industry and the appetites of armchair travelers in Europe. In this way, the evolution of modern photography fueled an interest in visual contact with the rest of the world. - Photography’s Orientalism offers the first in-depth cultural study of the works of European and non- European photographers active in the Middle East and India, focusing on the relationship between photographic, literary, and historical representations of this region and beyond. The essays explore the relationship between art and politics by considering the connection between the European presence there and aesthetic representations produced by traveling and resident photographers, thereby contributing to how the history of photography is understood.“ (www.amazon.com/Photographys-Orientalism-Colonial-Representation-Debates/dp/1606061518; seen 07.03.2018).
Text engl. - „In the decades after its invention in 1839, photography was inextricably linked to the Middle East. Introduced as a crucial tool for Egyptologists and Orientalists who needed to document their archaeological findings, the photograph was easier and faster to produce in intense Middle Eastern light—making the region one of the original sites for the practice of photography. A pioneering study of this intertwined history, Camera Orientalis traces the Middle East’s influences on photography’s evolution, as well as photography’s effect on Europe’s view of “the Orient.” - Considering a range of Western and Middle Eastern archival material from the late nineteenth and early twentieth centuries, Ali Behdad offers a rich account of how photography transformed Europe’s distinctly Orientalist vision into what seemed objective fact, a transformation that proved central to the project of European colonialism. At the same time, Orientalism was useful for photographers from both regions, as it gave them a set of conventions by which to frame exotic Middle Eastern cultures for Western audiences. Behdad also shows how Middle Eastern audiences embraced photography as a way to foreground status and patriarchal values while also exoticizing other social classes. - An important examination of previously overlooked European and Middle Eastern photographers and studios, Camera Orientalis demonstrates that, far from being a one-sided European development, Orientalist photography was the product of rich cultural contact between the East and the West.“ (www.amazon.com/Camera-Orientalis-Reflections-Photography-Middle/dp/022635640X/ref=pd_sim_14_1?_encoding=UTF8&pd_rd_i=022635640X&pd_rd_r=RYCMD287VJMKVN6DVRJG&pd_rd_w=Ewjm3&pd_rd_wg=By11g&psc=1&refRID=RYCMD287VJMKVN6DVRJG; seen 07.03.2018).
Text lith., engl. - Printed by “Kopa”. - The book Vanishing by Vytautas Pletkus (1955) contains photographic series on the slow process of destruction. The photographer records these signs now, at the beginning of the 21st century, after Lithuania has joined the European Union. Houses, fences, sculptures, objects and places have become useless, and are slowly sinking into oblivion, making their own parallel reality in lost time. The captured places are untouched by a form of photography that shows no hallmarks of beauty. The symbols of this landscape could be the empty windows of abandoned houses, or the walls of closed factories.
Text engl. - Other editions: Simultaneously published in engl. by Umbrage editions, New York (ISBN 1-884167-867). Danish ed. Copenhagen: Forlaget Politisk Revy (ISBN 978-87-7378-323-8); Swedish ed.: Stockholm: Journal (ISBN 978-91-977625-8-8).