The mirrored self-images encompass my private fantasies. They are my way of reacting on the imitated and fake media images, which are constantly calling upon our imagination, without intending to be taken too seriously. I try to deconstruct this call’s effect with my reactions by switching the ’subject-object’ relationship, without being victimised by it. My self-images show I am not a victim of an imposed sexually charged visual culture, instead I give a self-aware answer, in which I try to show my feelings and/or views on the unreal and fake imagery, which is forced upon us daily. This series of photos emerged from a collection of daily uploads on Facebook and my personal blog. In the digital public space, I try to reinforce the exhibitionist nature by presenting them in the context of a living room or a living room setting. In this context exhibitionism and voyeurism come together. Using my own body as a sex object in corresponding poses and an auto-erotic gaze I study voyeurism and exhibitionism.
My project Teeth of the Sea documents the relationship that residents of Martha’s Vineyard have with the ocean. The island where I grew up lies off the coast of Cape Cod in Massachusetts and requires a forty-five minute ferry ride to gain access. Overwhelmed with tourists during the summer months, during the off-season the island reverts back to its lonely seaside town state when the population drops by more than half.
Islanders’ interactions with the water that surrounds them varies from the economical and recreational to the mystical as the ocean simultaneously provides financial security, enjoyment, beauty, isolation, and danger. For this project, I have explored these connections by examining the film Jaws which was filmed on Martha’s Vineyard in 1975. This event represents an extreme example of the complex relationship between islanders and outside influence.
The ocean is a constant presence on Martha’s Vineyard, even the air has a consistent note of brine. Much like the sense of danger the shark represents in Jaws, I have tried to make the water into a similar force: nothing tangible but instead a lurking apprehension that underscores our fear of dark waters and the unknown. The photographs record places and scenes central to the storyline of Jaws, exploring ideas and relationships inspired by these events. In this project, I have mixed fact and fiction, myth and reality, and past and present to shape and inform a narrative about islanders’ relationship with the ocean. Teeth of the Sea is less about Martha’s Vineyard itself and more involved in examining the ambiguous and deeper aspects of our complex relationship with the sea.
13. – 15.03.2015 in Berlin.
Im ersten Teil des Workshops stellt Calin Kruse 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. Die Teilnehmerinnen haben die Möglichkeit, in Musterfächern verschiedene Papiere und Einbandmaterialien anzusehen und so auch Überlegungen zur stofflichen Umsetzung ihres Projektes zu vertiefen.
Desweiteren werden die TeilnehmerInnen im Zuge des dreitägigen Workshops die Möglichkeit 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.
Am Samstag nach der Mittagspause ist ein Besuch in Frauke Schröders Buchbinderwerkstatt geplant (ca. 3 Stunden). Dort kann man sich Buchbindetechniken zeigen lassen, mit deren Hilfe die Herstellung von Büchern in kleiner Auflage möglich sind, sowie konkrete Fragen stellen.
Ziel des Workshops ist eine klare konzeptionelle Vorstellung und ein fertiger Dummy für ein eigenes Foto- oder Kunstbuch.
Datum und Zeit 13. – 15.03.2015, Fr. von 14 bis 18 Uhr, Sa. und So. 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 320 € (inkl. 19% MwSt.)
Anmeldung und nähere Informationen firstname.lastname@example.org
Getränke werden kostenfrei gestellt. Ein gemeinsames Mittagessen können wir in der Gaststätte gegenüber einnehmen, wo auch vegetarische Speisen angeboten werden.
Calin Kruse studierte Kommunikationsdesign in Mannheim und Trier; er gibt seit 2007 das Magazin dienacht heraus und gründete 2012 dienacht Publishing, einen Verlag für Fotobücher. 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.
— the wind —
— tears make weigh shadows —
under the eyes that few minutes wear out.
The time, the wind makes the images unfold in a dreamlike space-time, at the edge of the sleep.
© Clara Chichin / www.hanslucas.com
Void of everything that is important. I am trying to think about the “road.” I cannot. I am completely exhausted. All in all, I am going only because of the weather. The prospect of wind, snow, and my flashes on the beach did not let me sleep. Besides, I am afraid of the few days of thinking only about Her, and this way I will have the Baltic Sea. My Baltic Sea. Instead of.
“Swell” is a story of a break-up and of unaccepted loneliness. At first it was supposed to be
a documentary project about the Baltic Sea. A plan was drawn up and the places to be visited were marked on the map. During the trips to the Baltic I was accompanied by my girlfriend, until the moment of our parting. The parting changed me and I was no longer able to continue the project according to previously designed plan. I started going back to the places where we were together. Here the project ends, and a personal story begins.
My story “Swell” has been published as a book by the Instytut Kultury Wizualnej in Warsaw.
Book “Swell” was chosen as a finalist in the Best Photography Book Award at Pictures of the Year International in 2014, received 3rd prize at the International Photography Awards in 2013 and Honorable Mention in the Best Photography Book from Central and Eastern Europe 2013-2014 at the European Month of Photography in Bratislava in 2014 and was chosen for “Best Books of 2013″ list by Photo-Eye.
This project combines archive material with original photographs made to reproduce elements and events connected to the story.
The facts have been reworked through the fictional filter specific to photography as well as digital interventions.
As biographies blur in this unusual approach to imaging, the narrative builds itself freely.
The title suggests that choosing between two undesirable options is pointless, as they both lead to the same end.
I drew an axis from Venice up to Hamburg, in consecutive travels, residing in reclusion, counterbalancing with backstage stops at Burlesque-and dragqueen shows. Trying to stay ahead of rapid gentrification. It seems that throughout Europe an Old Soul is disappearing. “Everybody wants to build and nobody wants to do maintenance”(*Kurt Vonnegut).
The locations I am hunting for, are, in the photoworks, totally freed from time and space, resulting in a somewhat strange, partially comforting, partially suffocating atmosphere. I call it Neon Poetry. It is my aim to bend kitsch into aesthetics. There are a lot of film noir and other cinematical influences in my photo work. In my recent shows I noticed that I was storytelling because all the imagesreally work well together, and they do so in all directions! The viewer can read many stories. In recent shows I more and more felt the need to give the images ‘a chance on their own’. Hence I now choose for as much decontextualisation and détachement as possible, which is leading towards new work literally to be called ‘Singularities’.
A 9 years journey which core is in Istanbul, a city where I feel at home, as if I had been there in another life. It’s very important to me how the past and the present are connected. I see the pictures as reflections of my emotions as well as my subconsciuos obsessions, my childhood fears and issues with intimacy.
A photozine about moments. Not about the moment itself, but about being part of it.
Copper metallic dust cover
32 pages: 8 digital printed pages (covers) on 170 g/m² vellum paper + 24 risograph-printed pages
13 x 19.5 cm, hand-bound
Print run: 50 numbered copies
So, here we are again. dienacht is not just a portfolio magazine, but also a personal project. That’s why some personal circumstances lead to the fact that this issue is released much later as it should have been – but now it’s here, on the last days of the year 2014!
We have, once again, outstanding photographers and artists, like Birgit Krause and her out-of-this-world-series “Plánětes”, Jean-Marc Caimi showing a selection from “Daily Bread”, Zhe Chen and her painfully intimate diary “The Bearable”, the funny childhood memories translated into photography by Vendula Knopová, Magdalena Sawicka’s raw but precise illustrations, Elena Montemurro’s “Coming of Age” (which is also this issue’s cover story) and many more incredible photographers and photobook reviews.
Get your copy here (worldwide shipping): www.dienacht.bigcartel.com
1000 copies, numbered
128 pages, 15 x 18 cm
offset print, in English and German
I met Nadia during the OBSCURA Festival of Photography in George Town, Malaysia. We didn’t had much time, but she showed me her book “[n]” and some time after I sent her a message saying that I’d like to order it.
Well, she didn’t sent just the book, but a whole package with books and zines made by Malaysian Photographers! Take a look, check their work, buy their books and zines.
In order of appearance:
Nadia J. Mahfix – Nowhere
Nadia J. Mahfix – [n]
Hafiz Hamzah – 20 fotograf Jepun
Hasful Zainuddin – Mata Hati
Nik Adam – Tinggal
Hafiz Hamzah – Cahaya Pertama Yang Terserap
Hasful Zainuddin – For those who had been used …
The new series from Finnish photographer Markus Henttonen (b. 1976) is a complex journey through landscape, time and emotions. Twisted Tales –Road to Hope consists of precise and yet beautifully poetic portraits, narrative actions and landscapes. This conscious randomness of the photographs create the feeling of a lifelong road trip taking forward through events, emotions and encounters. Twisted Tales strongly balances between the thin interface of real and imaginary. And everything seems so familiar yet there is something strange.
With this series Henttonen has changed his working methods, and in a way returned to the freedom and unrestricted approach of his early photography career. Photographing has been more intuitive and the careful and concentrated editing has only happened afterwards. In photography the unexpected and incidental aspects are always present. Even with a great idea and good planning you cannot not and should not control everything. That unpredictable nature of photography is what makes it so interesting -and also kind of similar to life.
During his years in photography Markus Henttonen´s style has grown recognizable with expression being simultaneously intense and delicate. As a visual storyteller he has shifted from documentary approach deeper into narratives. But the stories in his photographs are only suggestions and the focus is on emotions. It is like he is subtly guiding the viewer to feel and interpret. Henttonen´s undertone of wistful melancholy is present throughout the series in the landscape and peoples´ gestures but at the same time there is this distinct feeling of hope.
Twisted Tales is like life, a unique and exciting travel with joy and sadness of desire and despair combining the most personal with things common. Memories, dreams and reality mix up to profound layers. Despite the flashbacks from the past and the unexpected turns this journey is going forward. It almost feels like a puzzle that will never really be complete. There will always be something little out of place, a little bit twisted.
All 7 – timeless – available issues: dienacht #8, 11, 12, 13, 14, 15 and 16.
Over 800 pages of intriguing photography, graphic-design, illustration, art and stories, photo book reviews, and so much more.
All 7 available issues: dienacht #8, 11, 12, 13, 14, 15 and 16.
Over 800 pages
40 Euro (instead of 47 Euro regular price)
My family roots back to England, but I was born in Israel. I was a child on a fence; a daughter to a migrating family. The house within culturally stayed European but outside was the Israeli controversial culture. I always felt a misfit with my partial incomplete identity; torn apart between parents who have never blended in to the Middle Eastern culture I felt only half belonged too.
Over the years I have heard of my parent’s memories and stories. I remember hearing of snow, youth and happiness. Stories of happier days. The stories held on to the memories of time and culture that I wasn’t a part of, and portraits of family members that always remained anonymous to me and their faces where no more distinct than any other person in generic photo album. These stories were supposed to be my heritage. As I grew up I’ve started to question photography’s function as my memory, as my family heritage.
Family albums have become a standard for people to portrait their family and create a collective memory. We share a need to capture memories and special moments with the people we know. Things as a birthday cake, children taking a bath or a trip to the beach have become a portrait of the normal, typical family memory. Sometimes we don’t even remember the occasion but we relive it by looking at the picture and assuming we remember the memory. I’ve browsed throw these old photos trying to look for a family but all I found was empty spaces. Stories of places I’ve never been to, people I never saw and a period that I haven’t lived in.
My photographic practice chains together straight and still life photography, found footage from my family history and imagery from family albums. Using photography I’ve conducted an examination of my history. Due to the migration of my family from England to Israel that history discontinued, and therefore I find it hard do consider it as mine. I’m researching a history that I don’t see as actually mine; Family memories that I am not part of. The images become objects that I use in order to create a new history and memory of my own; people and places as I would like to remember and understand them.
I started not only looking for my identity in the old photos but also reflect my feelings from these photos on to the world around me. I look for Moments and objects were there is a tension that is created by their incomplete aesthetic. Photography allows me to look at the little and unimportant objects around me and make them a part of my history. With my camera I grant them with eternity and in that I grant myself a memory.
In my recent work „Arkanum“ I deal with the subject of man`s relationship to its urban environment and architecture.
In a similar way like Godard’s Alphaville, a logic city built and controlled by the Alpha 60 computer my work is about a artificially constructed city of the future that stands in stark contrast to nature.
The city cores of different major cities in Germany built the stage for this work. But also so called “non-places” like trade fairs, outlet center, shopping malls and airports.
The motifs in part refer to real places, but they primarily serve to inspire fictitious, inner images.
„Arkanum“ was self published as a book October 2014.