Dana Stölzgen: My Disguise

dienacht Publishing proudly presents Dana Stölzgen’s superlimited (45 copies + 5 copies with a print) and oversized book “My Disguise”!

“Bones
then skin
and through my disguise
someone is looking at me.”
– Dana Stölzgen

A Special Edition with a very limited, beautiful 30 x 45 cm Print on Hahnemühle Photo Rag, 308 g/m² is available. Edition of 5, signed and numbered.

Size: A3 (29,7 x 42 cm), 16 pages
Printed on Metapaper 270g/m² Extrarough Warmwhite
Half cover, thread stitching
Print run: 45 copies + 5 Special Editions with a 30 x 45 cm Print on Hahnemühle Photo Rag 308 g/m², signed and numbered

NOCTURNES is part of the Exhibition “Reading a Photobook” in St. Petersburg

We at dienacht Publishing are happy and honored that NOCTURNES is one of only 15 books at the exhibition “Reading a Photobook”, among authors / photographers like Cristina De Middel, Taryn Simon, Alec Soth or Erik Kessels!

The project “Reading a Photobook” is a guide into contemporary photobooks and into the diverse ways of “reading” them. The project consists of an exhibition, a workshop, and a competition on photobook review writing. “Reading a Photobook” focuses on both a photographer and a critic, an image and a text, practice and theory.
The exhibition, located at the Gallery of Printing, presents 15 works grouped into five chapters according to ways artists work with their material: photobook as a research, as a collaboration, as an experiment, as an image, and as a publication based on a different book.
Will you be interpreting photographs, analyzing design and texts, comparing a book with another one, or just scenting an odor and feeling the touch of paper?..
Visitors will choose their own ways of “reading” photobooks. As well as they will be introduced to photobook world’s experts’ opinions about publications through a take away booklet full of quotations from blogs, books and other platforms devoted to photobooks.

Books at the exhibition:
AM projects (Aaron McElroy, Daisuke Yokota, Ester  Vonplon, Gert Jochems, Olivier Pin-Fat and Tiane Doan na Champassak), “Nocturnes” / Oliver Chanarin & Adam Broomberg, “Holy Bible” / Frank Bruggeman, Ernst van der Houven, Samira Ben Laloua, “Club Donny” / Hans Gremmen, “The Mother Road” / Jacqueline Hassink, “The Table of Power 2″ / Erik Kessels, Erik Steinbrecher, Erik Van Der  Weijde, “Tables to Meet” / Cristina De Middel, “Party, Quotations from Chairman  Mao TseTong” / Jim Reed, “The Aggressors” / Tørbjørn Rødland, “Vanilla Partner” / Machiguchi Satoshi, MATCH & Company, “Live Match Kyoto” / Lieko Shiga, “Rasen Kaigan/album” / Taryn Simon, “Birds of the West Indies”  / Alec Soth, “Poster Book” / Stéphanie Solinas, “Sans Titre, M. Bertillon” / Eric Stephanian, “Lucas”.

Gallery of  Printing in St. Petersburg, Obvodny channel emb., 199-201, building 4.
Opening: the 1st of October, 19.30 | Visiting hours: from the 2nd of October till the 30th of  November 2014, workdays – 15.00 – 22.00, Saturday & Sunday – 10.00 – 22.00
www.print-gallery.ru/blog/vystavka-chitaya-fotoknigu.php

Get a copy of NOCTURNES here.

Meet dienacht at ‘Polycopies’ during Paris Photo

Calin Kruse / dienacht Magazine and dienacht Publishing will be at Polycopies in Paris during Paris Photo! This week, from Wednesday till Saturday. Come by and say ‘hi’!
http://polycopies.tumblr.com

We also organize some book signings and one book release (“My Disguise” by Dana Stölzgen), here are the dates:
Chad Moore – Fri. 14th, 16:00
Ekaterina Anokhina – Fri. 14th, 17:00
Dana Stölzgen – Sat. 15th, 15:00
www.dienacht-magazine.com/publishing

Neu im Shop: Eric Pawlitzky – Und alles ist weg

Was ist in Polen nach einhundert Jahren vom 1. Weltkrieg noch zu sehen? Eigentlich nichts. Selbst die Landschaften scheinen sich kaum verändert zu haben.. Eric Pawlitzky hat anhand historischer Quellen Orte der Gewalt recherchiert und sie in ihrer heutigen Gestalt abgebildet. Ihm ging es um größtmögliche Authentizität, aber zugleich um einen Blick auf Polen, der sich im ersten Moment auf die Schönheit der Landschaft zu konzentrieren scheint. Die recherchierten Texte zum Geschehen während des Krieges vermitteln dem Betrachter der hochwertigen farbigen Prints ein ambivalentes Gefühl. Pawlitzky hat mit digitalem Mittelformat gearbeitet und bewusst eine sehr malerische Bildsprache gewählt.

“Eric Pawlitzkys fotografische Ansichten polnischer Landschaften sind durchaus dazu angetan, romantisches Naturgefühl zu wecken: breit im Querformat hingelagertes Grün, zu sanften Hügeln gewellt oder durchzogen vom Silberblau eines Flüsschens, umwoben von frühmorgendlichem oder spätabendlichem Dunst. Hier das Band einer Straße, dort eine Kette filigraner hölzerner Strommasten – das stört den Eindruck von Ursprünglichkeit, ja Zeitvergessenheit nicht ernsthaft. „Landschaften, die oft, anders als in Deutschland, nicht industriell überformt wurden“, charakterisiert der Berliner Fotograf seine Motive selber. Eine Bucht zwischen Bäumen im Gegenlicht lässt an Lorrain denken, ein Zwielichtstück an Elsheimer, ein Weg mit Baumschatten darauf an Corot und die Schule von Barbizon, ein von Mohn, Kamille, Kornblumen gesprenkeltes Feld schließlich an Monet und seine Impressionisten-Freunde. Doch wird jede Farbfotografie begleitet nicht nur vom Titel, der die den Ort identifiziert. Durchweg folgt ein Text, der – als Auszug aus einem zeitgenössischen Militärbericht – beschreibt, welches Kampfgeschehen des Ersten Weltkrieges just an diesem heute so friedlichen Ort stattfand. Markige Sätze aus deutscher Sicht, deren Hurra-Patriotismus heute schaudern macht. Es sind aber auch Sätze, die uns die Bilder nochmals und anders wahrnehmen lassen. Unweigerlich denkt man: Was das Wiesengras und die Sumpfstauden so saftig, die frisch umgepflügten Ackerschollen so fett macht, muss das Blut der vor 100 Jahren Gefallenen sein.” – Dr. Roland Held / Darmstädter Echo

Hardcover, Fadenheftung, Bildapplikation mit thermoaktiver Folie
26 Abbildungen
30,5 x 21,5 cm, 76 Seiten
Auflage: 500 Exemplare
Design: FLUUT Grafik-Design

27,00 Euro

Rob Mellink: May I… ? | Portfolio

The pictures for ‘May I…?’ were made during my single encounters with amateur models in hotel rooms.

The stripping before the camera, the subjection of the model to the photographer and the provocative and seductive looks to the camera, are themes that refer to classic ingredients of pornography and fashion photography.

In this fashionable world the interaction between photographer, model and camera is put on edge. But if this game supposes an interaction between two opponents, why is it that we rarely see a real glimp of that interaction in the final picture? Does the camera not merely serve to keep the photographer ‘out of the image’? And does the fashion-picture, after heavy post-processing, still give us room to reflect on the medium of photography itself? Why do we in this case still refer so strongly to the qualifications of ‘real’ and ‘pure’ and ‘clean’?

Without a camera I’m merely a voyeur. But isn’t the photographer a voyeur by definition? Does he not subject its subject to his curious, controlling gaze? A perverse gaze that can only be satisfied by the act of looking itself? Is the ‘guilty’ pleasure of looking without being seen not always present in the core of photography? The camera as a synonym for the keyhole.

I explore the fascination of watching and the attraction of the one I am looking at, from behind the mask of the photographer’s eye. But would the one I’m watching at, grant me permission to do so, if I hadn’t appeared to her as a ‘photographer’?

The pictures of May I…? show a repeating ritual where the interaction of business transaction and human association between the two strangers causes an estrangement where both model and photographer appeal to their own and to each other’s expectations, wishes, roles, desires and insecurities. Over the years I’ve seen many cunts and tits, but I don’t remember any of them. I don’t even remember looking at … It were the looks I remember. That’s what occupied me.

I take pictures of naked girls.
They witness my silent gaze.
I pay them to stare at them. 

www.robmellink.com 

New book: Calin Kruse – No real time info available

A personal story. July-December 2012.

Limited Print Editions available:
28 € 
The printed book
60 €  The printed book + a 13 x 18 cm C-Print (edition of 25, signed and numbered), as seen at the end of the preview.
120 € The printed book + a 20 x 30 cm signed and numbered print (edition of 10) on Hahnemühle Photo Rag, 308 g/m², as seen at the end of the preview.
350 € The printed book + a 30 x 45 cm signed and numbered print (edition of 3), printed on Hahnemühle Photo Rag, 308 g/m², as seen at the end of the preview.

Hard cover, open thread stitching
15 x 20 cm, 96 pages
hand-written cover
Print run: 200 numbered copies
28 Euro (free shipping until the end of this week!)

“Anyone in love with you” -Two reviews

A selection of Chad Moore’s photos from “Anyone in love with you (already knows)” is featured on the CNN Photo Blog!
www.cnnphotos.blogs.cnn.com/2014/07/24/young-and-free-in-new-york-city/

And it is Book of the Week on photo-eye’s website! blog.photoeye.com/2014/07/book-of-week-pick-by-matej-sitar.html

Get your copy of the book here, before it’s gone: www.dienacht-magazine.com/2014/02/16/chad-moore-anyone/

Workshop in Berlin: Das Fotobuch. Bildauswahl, Bildreihenfolge, Gestaltung

Im ersten Teil des Workshops stellt Calin Kruse (dienacht Magazin / dienacht Publishing) seine Arbeits- und Herangehensweise an -Gestaltung und Bildauswahl vor; dabei wird der Schwerpunkt vor allem auf die Bedeutung der Materialebene bei der Produktion von Fotobüchern liegen. Zahlreiche Fotobuch-Beispiele -(sowohl positive als auch negative) werden im Laufe des Workshops gezeigt und besprochen.

Desweiteren werden die TeilnehmerInnen im Zuge des zweitägigen Workshops die Möglich-keit haben, unter theoretischem und praktischem Input von Calin, aus ihren eigenen -Fotoprojekten ein Buch zu gestalten – wobei besonderer Wert auf Design (Format, Papier, -Material und Form) sowie Bildauswahl- und Reihenfolge gelegt wird.

Datum und Zeit 06. – 07.09.2014, jeweils von 10 bis 18 Uhr
Ort Räumlichkeiten der Galerie Alles Mögliche, Odenwaldstraße 21, 12161 Berlin
Teilnehmerzahl max. 6 TeilnehmerInnen
Benötigte Materialien Fotoprojekt in Papierform und digital (auf eigenem Rechner)
Teilnahmegebühr 240 € (inkl. 19% MwSt.)
Anmeldung und nähere Informationen: speak2me@dienacht-magazine.com

Der Workshop-Leiter
Calin Kruse studierte Kommunikationsdesign in Mannheim und Trier; er gibt seit 2007 das Magazin dienacht heraus und gründete 2012 dienacht Publishing, einen Verlag für Foto-bücher. Er kuratiert Fotografieausstellungen, ist Portfolio-Reviewer (u.a. auf dem F/Stop Festival in Leipzig, PhotoIreland in Dublin und Vienna Photo Book Festival), hält Gastvorträge an Hochschulen und macht Workshops für Fotobuchgestaltung.

Die Bücher bei dienacht Publishing erhielten bisher einige Auszeichnungen: NOCTURNES wurde von TIME Magazine und photo-eye, Dead Traffic von photo-eye zum Fotobuch des -Jahres
ausgewählt, -Nowhere hat den Deutschen Fotobuchpreis 2014 erhalten.

www.fluut.de | www.dienacht-magazine.com/publishing

dienacht Publishing proudly presents: Deep Inside by Tatiana Tcherkezyan

Feeling offcast. Flecks of ash fill the air. Slowly, they lie down to my feet. Somewhere inside there is something that destroys, it attracts those indifferent and closed. Others. Those unable to coexist, emotionally impenetrable. The same as me. Deep inside there is the void where light disappears.

The regular edition is sold out. A few copies of the Special Edition with Print are still available (for a preview of the print, please check the last image of the slideshow).

Hard cover, open thread stitching, laser engraving on the cover, 11 x 15,5 cm, 52 pages including 4 fold-out pages, full colour, print run: 90 copies + 10 Special Edition with Print, signed and numbered
Print Editions (book + print) left:

120,00 Euro

Ekaterina Anokhina: Inner Mongolia (2nd Edition)

If the paper of the first edition made the book look a coal mine, the paper of this second edition makes it look like a desert storm.

“And where is it, this place?”
“That’s the point, it is nowhere. It is quite impossible to say that it is located anywhere in the geographical sense. Inner Mongolia is not called that because it is inside Mongolia. It is inside anyone who can see the void, although the word ‘inside’ is quite inappropriate here. And it is not really any kind of Mongolia either, that’s merely a way of speaking. The most stupid thing possible would be to attempt to describe to you what it is. Take my word for this, at least – it is well worth striving all your life to reach it. And nothing in life is better than being there.”
“And how does one come to see the void?”
“Look into yourself.” said the baron.

(From “Chapayev and Void” by Victor Pelevin, translated by Andrew Bromfield)

Edition of 90 numbered copies + 10 copies with a gelatin silver print (numbered and signed)
21 x 29.7 cm, 32 pages, printed on grey paper
Silkscreen printed envelope
Designed by FLUUT

Calin Kruse – You scared the shit out of me, so I’m leaving

Erotic fairs are probably the only events where all social classes and ages are gathered in the same place.

The visitors – exactly from the hick town where all the pictures were shot – brim over with bigotry. Because on one hand there is the hypocritical tolerance and openness at night, the meat market – and the gazes! – under the cover of eroticism. On the other hand the smooth smugness reveals in the daytime – lived family idyll and dominical church going included.

It is all about schizo provincialism. The abandon and unleashing of the bourgeois which seem enormous at first, in closer inspection keeps exactly within the defined limits. Because in this loud, piercing, adrenalized carnival of drives, the excess is planned. Like that everything is in best order. In the garden plot, on the parking lane, in the frontyard – and in fact also on the erotic fair.

Limited Print Editions available!
35 €: The printed book
60 €:  The printed book + a 13 x 18 C-Print (edition of 60, signed and numbered), as seen in the preview.
150 € (4 left): The printed book + a 20 x 30 signed and numbered print on Hahnemühle Photo Rag, 308 g/m², as seen in the preview.
500 € (1 left): The printed book + a 30 x 45 cm print (edition of 3) + the 20 x 30 print, both numbered and signed, printed on Hahnemühle Photo Rag, 308 g/m², as seen at the end of the preview.

p.s. thank you to all supporters of the crowdfunding-campaign. You made this happen.

Loose spiro bound book in a hard cover, held by an elastic strap
90 pages, 16 x 28 cm
Print run: 100 copies
35 € + shipping
Please choose:

A zine I like: Rodrigo Miragaia – Twisted Swan

Twisted Swan is a book of tensions. Clarity and visual pollution. Identity and concealment. Kindness and aggressiveness. An artificial lake, made at our image. There are repeated attempts to achieve results. Processes. Obsessions. Trifles. A certain desperation. Urgency to act. Urgency of living. Photographs of photographs. Generations of photographs. Images degrade. Lose the illusion. They disappoint. But gains a new body, with wrinkles and scars, an imposed time. The image becomes opaque. The perspective is a triangle. There is now only a smear of ink and traces of an abusive handling. A new silence.

www.rodrigomiragaia.blogspot.pt