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
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
I’m happy to be one of the reviewers of the ViennaPhotoBookAward, during the ViennaPhotoBookFestival!
You can still find the Open Call for Photo Book Dummies here: www.viennaphotobookfestival.com/1st-viennaphotobookreview/
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.
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.
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.
Sisterness is a photographic inquiry about identity and identification.
Personality is constituted by a series of identifications.
The first and most important persons we identify with are our parents. Later on, in our adolescence, we distance ourselves from them. We begin to cherish our individuality. But at the same time we look for other persons, friends, partners or other adults, to adapt to. We are searching for similarities, starting to assimilate to others by for example wearing similar clothes, or by sharing certain values and behavior.
By taking portraits of myself, together with other people such as family members, friends and people I barely know, I work on a personal approach towards visualizing the process of identification. Similarity is created by very simple means, such as wearing the same clothes and showing a similar expression. I am fascinated by the result of this assimilation, showing two individual persons merged into one virtual character. Sisterness (german: Verschwisterung) is a metaphor for this state.
Likewise, I am interested in the process of becoming like the other as a whole. During the portrait session, familiarity evolves between myself and the models. Conversely, the individuality of each one becomes evident when we face the camera, despite our physical resemblance.
With my portraits I would like to explore this contrast between closeness and distance, between insisting on our individuality and our longing for a symbiosis with someone like us.
Currently, the series consists of eleven portraits. I designed it to be a long-term project, to be followed up within my work process, as I’d like to visualize sisterness in all its complexity.
This is the story of a defeat. Despite his ethical responsibility and commitment to build a fair and solidary world Che Guevara did not assume that revolutions have no reason to be, a revolution will always rise a worse breed than the caste that was defeated, what is needed at any case is an evolution.
It will be in Mexico where a free, intelligent and passionate Che Guevara will live in misery, will sell toys in the street, will be a traveling photographer, watchman in a library, will meet with the exiled poet León Felipe, collect cats in the streets for his medical investigations . In Mexico he will marry Hilda Gadea before he begin training with the cubans, long hours paddling in the lake of Chapultepec, expeditions to the mountains of the city, karate sessions, military training on a leased ranch, turkey target practice, physical conditioning and wrestling lessons with wrestler Arsacio “Kid” Vanegas.
Che in Mexico will discover tacos and will drink Coca-Cola. He will plan impossible trips, learn how to cut hair, will end up in prison custody with the future fighters and begin his unfinished book on the function of the doctor in Latin America, but most important of all, the days in Mexico will define Che’s implacable and solid moral proposition that will acompany him until his dead.
I not only admire Che, I’m also grateful to him.
Heft + Schutzumschlag mit Bleisatz
Auflage von 48
Heft + Schutzumschlag mit Bleisatz
Auflage von 48
Heft + Schutzumschlag mit Bleisatz
Auflage von 48
The 4th issue of TISSUE Magazine features contributions from OLIVIER ZAHM, MARTIN EDER, AYZIT BOSTAN, ADRIAN CRISPIN, MAXIME BALLESTEROS, HART + LËSHKINA, ROTGANZEN, NICO KRIJNO + MIGNONNE VAN EEDEN, ANGGA PRATAMA, MARILI ANDRE, TIM BUENING, BRITTA THIE, LINA GRÜN, MARIANNE MARIC, IVGHENY KOSTHIN, and last but not leaset SASHA KURMAZ who also did the covershot.
MAJOR LEAK: a very personal interview with OLIVIER ZAHM talking about hating the countryside, discovering photography, making moments, making magazines, and making his first book, DIARY — from which we are lucky enough to be the first ones to show some exclusive images.
ALSO NICE: sausage parties in pools or at home, the ol’ sheet-with-a-hole game, racy fetish gear, true love, freedom, modern Dutch psychedelia, blondes, contemporary Indonesian architecture, angry Jenny, graffiti, sex, and Ukraïna
TISSUE is magazine full of oversexed newcomers and the shaky old hands of erotic photography taking sex to the unsexiest of places.
“The Family Triptych, which Igor Omulecki has created over the last five years. The triptych has been directly informed by the artists private life, at a time when he and his wife are expecting their first child. The symbiotic relationship between life and work the growing up of ones kids, ones relationships with ones spouse, parents is constantly present in the triad, and one should actually say that it is its bilateral character that inspired the work in the first place. However, the Triptych is not a chronicle of the vivisection of a familys everyday life. Despite using photography whose exhibitionist potential is well known this is not a story about privacy and access to it. The possibility disappears from our sight very quickly.”