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: firstname.lastname@example.org
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.
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:
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
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.
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
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.
Five limited, signed prints by Chad Moore (“Anyone in love with you (already knows)“) now available! All five photographs are available as a limited edition of 5 copies each, size 28.67 x 43.18 cm (11.25 x 17 inches).
1. Alex (Bridge Bomb), 2010
2. Imogen (Roof Edge), 2011
3. Georgia (Bed, Eyes), 2013
4. Imogen (Red Balloon, Amsterdam), 2012
5. Sara and Imo (Rooftop), 2011
In case of purchase please indicate the photograph of your choice (№ 1 to № 5) in the comments field.
Printed on Fujicolor Crystal Archive Professional Super Type PD Luster
Image size: 26 x 40.64 cm, Paper size: 28.67 x 43.18 cm
Print run: 5 x 5 copies | signed
Five photographs to choose from
The project, Landscapes, consists of a series of photographs taken from the sea that represent large areas of the coast. Views together the images suggest a continuous view of the coast as a single extended landscape, seemingly real, the photographic in fact they are not consecutive but far from each other and different places and subjects such as: walls, trees, cities, forests, beaches, industrial zones, but all connected to the same height of the horizon and from the same point of view.
The images are “modular”, they could be moved and rearranged in different visual sequences to form endless landscapes. The objective of the project is to reflect on the complex and continuous transformations of the places, the relationship between the built and the natural giving form our contemporary world.
A journey between the past and the present through the images of my childhood’s house, in the northern Italy countryside, revising old pictures and confusing them with new ones, blending memories and expectations.
Fabien Pio is a french photographer, former student at the Fine Arts school of Montpellier.
My pictures are made of daily wanderings, in order to use the photographic medium as a way to write the simple things of life, like a diary, an everyday notebook. And through this, trying to evoke a cinematographic and literary language, according to an essential place to the narrative of the pictures. This is like an autobiography, representing oneself through the others and the things that happen to everyone, based on a latent reality, or maybe an underlying fiction, at the same time intimate and universal, sketched between dream and reality, an everlasting ambiguity in between presence and absence.
dienacht Publishing ist “Publisher in Resindence” at the OstLicht. Galerie für Fotografie in Vienna! OstLicht is also co-organizer of the ViennaPhotoBookFestival.
The residency begins this Thursday, April 3rd, (with the opening of the exhibition “Araki Teller Teller Araki”, yay!) and lasts for about 6 weeks. During this time, every book published by dienacht Publishing will be displayed at OstLicht and available for purchase.
Place and time are irrelevant in Miron’s book. Pictures, taken 30 years apart, face each other and look as if between them were not decades but a pan shot. Also if they were taken in New York, Berlin, Bucharest or Moscow is completely marginal. The pictures tell about abysses and hidden things – or about normality, depending on the point of view. About bloody party excesses and calm, nearly classical street scenes, sex orgies and religious ecstasy, victims of alcohol and dead or alive celebrities, misery and vitality, beggars and performing artists. Sounds as if all this could not be reconciled but however: Miron Zownir manages, and shows by this unity how similar we all are. No matter what we are, where, and when. It is one of the greatest books about people, I have seen for a long time.
The area Gustavo comes from (Murcia) must be a bizarre place with problems of identity and absurd countrysides. Or, even more likely: Gustavo is a sharp-eyed observer who reveals things not matching easily but giving distinction to our every day lives, without us recognizing them.
You cannot put your finger on why his pictures are attractive and repellent at the same time. It is more about a feeling – you instantly understand what he wants to say; somethings does not fit in; and: human being per se are strange beings. The pictures as well could be a Hispanic version of Michael Schmidt’s pictures in “Irgendwo” [“Somewhere”]. Anyway it is fun to dunk into the book, also because it sharpens the personal perception of our environment.
Looking at Sonja Braas’ landscape shots you inevitably wonder if and how much on them is real. Too surreal they seem, and they are as expected or imagined: enormous, violent, mystical and especially pictorial. Reading the text you learn that some of them are “real” landscapes, and others are model landscapes, dioramas in museums and shot of zoos; but anyways – and this is appeasing – shot analogical and unedited.
Maybe you need this explanation to see the pictures in relation to “reality”. I think you will not be disappointed if you do not know all of this. The pictures suffice. They are great. And yes, without background knowledge they are a little confusing. But maybe you should have to know everything in detail. It is enough to just enjoy.