Absence of Water is a photographic project which documents the state of decay of some baths, pools and lidos in the United Kingdom. They were places in vogue, fundamental for the life till the thirties of XX Century. Gradually, living conditions and tastes have changed, resulting in a drop of attendances, leaving the public pools uneconomical to run. Symbols of civic and architectural pride in Victorian times, today only a handful of them remain as a representation of bygone era. The project gives us the possibility to reflect on water: on its function and the importance it has for man and society development and growth. Water determines the wealth, it is indispensable to live and its lack inexorably leads to ruin, exactly as happened to these pools. These architectures, trough their charm, show us the time irreversible action, the ruin, the sense of emptiness that surrounds and fills them. Yet they are testimony and memory of a not too far age, when they were places full of voices and laughter and the beating heart of life.
This series is a study of form, a collection of diverse shapes and textures. I have created many such collections and I often choose mundane objects, like in this case potatoes. This gives me the freedom to look at them in an abstract way or to interpret them on my own, without being limited by the overwhelming context, which often happens when you choose objects that are too obviously important or unusual. What drew me to potatoes in particular, was their commonly unappreciated diversity created by nature, not by human artfulness. For my potatoes, I chose to make portraits rather than simply still-lifes and I gave them names – not in order to suggest that they look like people, but simply to emphasize their individual uniqueness (names individualize, like numbers standardize). I used the large format camera and I printed them much larger than the life-size to show them like they were looked at through the magnifying glass – with attention to all the tiny, but meaningful details. Excluding the colour factor by shooting them in black&white let me focus on shape, texture and light. The VIP in the title may be translated as Very Interesting Potatoes, or in many other ways.
01 Enrique Dimitri Magnussen
02 Itzhak Israel Ginzborg
03 Maksim Obruchev
04 Mathilde Mol
05 Chin-Hui Chen
06 Victoria Nicoletta de la Rosa
07 Teófilo Tootoo II
08 María Teresa Scriverius
09 Sasha X
10 Dolores Nanopoulos
11 Diana Ginzborg
12 Bobbi Vasily Oppo
13 José Ángel Lovinescu
14 Frida del Alcázar
15 Bo Mors
dienacht Publishing proudly presents Chad Moore’s book “Anyone in love with you (already knows)”, now available for pre-orders!
Every pre-order until March 15 will arrive with a ca. 13 x 18 cm Print. PLEASE NOTE that the pre-orders will be shipped on April 1st.
“Whenever I move to a new city on my own, I have the same sort of experience within my first few days. I go to a bar, I sit down, stumble my way through ordering a beer in whatever language is spoken (often with lots of hand gesturing) and take a look around. Inevitably, I end up with a similar scene in front of me: a couple fighting, a couple in love, an awkward date, an older man alone. In the same bar there will always be a group of young people laughing, enjoying themselves, fully comfortable with who they are and what they are doing, or at least appearing so. This is who I’m always most interested in. How did they get to be friends? What moments have they shared together to lead to that round of laughter? Who has hurt who? Do they know it? A complex algorithm of trysts and adventures, mistakes and triumphs leading to each quip, each kiss, each stare.” – Gabi Manga
open thread stitching
14 x 20 cm, 158 pages, book in a printed slipcase
Edition of 600 copies, designed by FLUUT
A review of Kim Thue’s book “Dead Traffic”, published by dienacht Publishing, in Slovenia-based magazine “Fotografija”. I don’t understand a word, but I’m sure it’s great.
Get one of the last copies of Dead Traffic here: www.dienacht-magazine.com/2012/09/06/pre-order-kim-thue-dead-traffic/
Sometimes, unexpected things happen.
First Edition: 100 copies (001-100). Sold out
Second Edition: 200 copies (101-300).
A Special Edition of 10 with a signed and numbered Print (20 x 30 cm, printed on Hahnemühle Photo Rag, 308 g/m²) is available. Sold out.
64 pages, 14 x 20 cm, open thread stitching
2-color-printed dust cover
Print run (second edition): 200 copies, numbered
How can the discrepancy between outside and inside be so huge?
Or maybe the one conditions the other?
- Ticino, Switzerland 2011 -
Print run: 70 copies, numbered
Size: 13 x18 cm, 24 pages + 8-pages booklet
We had a very good weekend in Düsseldorf displaying all those amazing photo magazines we received. The visitors were fascinated by the sheer amount as well as the individual publications. There was no point in time during the two days when no one was at the Magazine Salon. Normally there would be 10-15 people prowling around, sitting or standing at the tables and enjoying the publications.
It was such a success that we would like to carry on this project. So we are planning to exhibit the magazines again soon, at different venues; we’ll let you know about future events.
We’re also working on an own website where there’ll be a list of the archive, some additional information and a news section with upcoming Magazin Salon events. And: if you’re part of a photography-related magazine and we haven’t got in touch with you yet, please get in touch with us.
In the meanwhile, take a look at some pictures from the first Magazine Salon event:
The Magazine Salon is a project initiated by Calin Kruse (dienacht Magazine), Leon Kirchlechner (Der Greif), Shahin Zarinbal & Sina Michalskaja (KRAUT Magazine).
The Photographic ROUGH HOUSE presents 2 post-documentary workshops with internationally renowned photographers Cristina De Middel, Scott Typaldos and Kim Thue.
During each session a group of 10 people will be taken down a personal path to explore new means of creating visual documents, traveling beyond the classic documentary mechanics of storytelling.
Whilst discussing some unique possibilities within the realm of documentary photography, Cristina, Scott and Kim will strive to put the participants at the heart of the creative process through individual assignments that will encourage each one to uncover their own voice and approach.
The workshop will provide a fresh perspective and hopefully give its participants a renewed sense of experimentation, which they will be able to carry forward and expand in their future photographic practice.
For 5 days in June (From the 9th-14th and 14th-19th of June), both participants and the 3 photographers will stay in a beautiful country house, peacefully located in the Umbria region of Italy. This remote property will be our base and should provide the perfect framework for a rewarding and intimate experience. Transport will be arranged in order for the participants to immerse themselves photographically in the nearby town of Perugia.
Apart from gaining valuable guidance from the photographers, the successful realization of this workshop will largely depend on each participant’s willingness to push boundaries and challenge conventional ideas and processes. It will be 5 days of exchange, honesty and hard work, set in a supportive environment designed to further artistic development.
More info: www.rough-house.net
Jeremy R. Jansen: Dirty Negative, published by Éditions FP&CF.
The successor to my first photo zine ‘Blinded By The Dark’, the continuation of the ‘underground music meets instant film’ theme. This time, the selected images are not the actual positives, but the carefully reclaimed paper negatives that come with peel-apart film.
150 x 185 mm (5.91 x 7.28 inches)
edition of 60
black & white digital print
Get it here.
Memymom is a collaboration between two artists, a mother (Marilène Coolens, 1953) and her daughter (Lisa De Boeck, 1985). Two self-taught photographers who work and live in Brussels, Belgium. ’The cross-generational project began with what the pair describes as a ‘hangover from the past’. They are referring to analogue image archive made from 1990 till 2003 of Marilène encouraging Lisa to express herself and to invent her own improvised theatre sketches.
Marilène began taking the photos that now make up ‘The Umbilical Vein’ when her daughter was just five and continued until she turned 18. Images of a nine-year old Lisa sitting on a bed in a Pucci blouse and high heels, others of her pouting seductively at the camera à la Marilyn Monroe or posing as Catwoman, capture the transformation of a child into a young woman. The photographs will leave few people cold. They taunt viewers, who find themselves wanting to give them a comfortable place within an understandable context. But a nagging question remains: Are they a statement on the sexualisation of girls, or do they simply add to that imagery? Or are they about something else altogether? According to the duo, they found inspiration for the characters Lisa portrays in their experience of the 1990s, the decade during which most of the photos were taken: pop culture, movies, fashion and pedestrians on the streets of Brussels. Lisa usually seems quite serious in the photos, often almost unhappy. But Marilène encourages you to look closer to find a child’s daily reality. And you find this in tiny details, such as a faint trail of spaghetti sauce in the corner of Catwoman’s mouth.
These semi-staged dreamscape portraits developed into a mature conversation that deals not only with metamorphosis, identity, the potential and maternal relationship, but has evolved into a plea for sensual analysis and tragic romanticism. It reveals both the foundations of the close mother-daughter bond and the professional career of this artistic duo, who have worked together under the moniker Memymom since 2004.
Annelie Thorndike und Andrew Thorndike: Jeder Tag war schön, published by Hinstorff in 1966. Available at Booklooker, Amazon, etc.
Neverland is a series that was produced during the three years I was based in Berlin. The interiors, objects and still lives I photographed during this period reflect inner emotional states and also provide a record of that time and place. The images were slowly and carefully collected while living in different homes in Berlin and traveling to various european cities. In my newly adopted environment, the notion of home as well as details of domesticity became my main focus. Being away from most of my familiar references made my personal space a safe haven, the one refuge I could really appropriate. Hence, in a solitary exploration to appreciate beauty in the ordinary, I captured details of my everyday life abroad. The photographs form a collection of small moments meticulously assembled through time, depicting the romantic melancholy of a life without witnesses, except the camera lens.
Toshio Shibata: Contacts, published by Poursuite.
The Armory documents the ever-changing sets of the pornography company Kink.com to investigate a sort of life within the structure of work. Private spaces are constructed for a public gaze, and work is veiled under the guise of personal life.
Devoid of people, the spaces allude to an activity, but leave the viewer to imagine the scene. Pornography, driven by demand, reflects an amalgamation of our desires. Yet its prevalence also changes real-world sexual habits creating a feedback loop of the fabricated becomes the real while the real becomes fabricated.