Portfolio

Fabien Pio: The blurred colors of past days | Portfolio

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.

www.fabienpio.com

dienacht Package

All 7 – timeless – available issues: dienacht #8, 11, 12, 13, 14, 15 and the special issue “Ostkreuzschule – Faits Divers”.
Over 870 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 the special issue “Ostkreuzschule – Faits Divers”.
Over 870 pages
40 Euro (instead of 50 Euro regular price)
Please choose:

Anna-Kristina Bauer: Under your Charms | Portfolio

In „Under your Charms“ I work to capture the exceedingly intimate moments of interpersonal relationships, forgoing words but on the other hand making use of many emotions.
Directly aiming to portray young adults and set them as the focus of my work.
Those that find themselves shortly before the crossing into the world of adulthood and particularly in a phase of identity search, where they seek to find a foothold amongst their own kind.
This is what I look for in my pictures, these intimate moments, between being in love and concealment. Before that first kiss and after that bottle of red wine.

www.annakristinabauer.com

Robert Hutinski: Atavism (Family Album or Seminar on Youth) | Portfolio

Saying that Robert Hutinski lives and works in Celje sounds like a worn-out biographical phrase. Nevertheless, this is an important fact. Just like most other projects, his Family Album series stems from the city and the stories of its inhabitants, turning them into a photographic narrative with its own language that is both global and universal.

Perhaps the best way to define the Family Album series is by calling it ‘the culture of memories’.

In the confusion that reigns between the author’s perception of the collective memories of the environment carefully preserved in the archives of the Central Library of Celje and the assortment of personal tales of those who entrusted him with their pictures, a new tale and a new family album are being created. The family in this case is the stories and memories of the people who found themselves in one place at the same time. These interwoven fates, which found themselves in the grip of the dynamic modern history, create a mosaic of the new historical memory, where the author’s subtle manipulation of the diptychs shows the individual trapped between their personal and collective identities. Memories, of course, are essential to establishing an identity. The author’s brilliance, however, is showcased most clearly in the fact that Hutinski not only shows the creation of identities through the expectations of the dominant ideology, as shown in the portraits of uniformed me, nor in the dominant cultural environment, as shown in the portraits taken at important life events, but pays equal attention to forgetting, the intentional destruction of memories. It is in our nature, both collective and individual, to sweep under the rug that which bothers us in certain situations.

The series, therefore, is also about the culture of forgetting, of deleting the unwanted.

The Family Album series is thus a confrontation between the memory and the loss of it, and the author’s reflection on this confrontation. The black and white diptychs, materialized in their impression of a moment, nevertheless tell the story of an era. The carefully picked memories, as well as their destruction, are in fact the black and white world that remains in our consciousness. It is said that memories fade, but perhaps it would be more accurate to say that memories slowly turn black and white, causing us, both as individuals and as a society, to only remember the whitest and the blackest events.

Each of these photographs, therefore, is waiting to be remembered by someone, waiting for someone to either categorize it, worship it, or delete it from their ideology of perception of memories.
Every click of the shutter that ever produced a photograph therefore presents a new source of recording the public subconscious. Hutinski very deliberately picked one of these.

– Text by Borut Batagelj

Alexandra Davy: Lignes Vertes | Portfolio

Plants are a part of nature, but walls are a part of culture.
They provide us with an artificial protection from the eyes of the world. Inside, they conceal what we’re hiding; outside, what we’d like to see.
Which probably explains this odd habit we have of trimming our hedges just like we cut stone or cast reinforced concrete.

www.alexandradavy.com

Gigi Cifali: Absence of water | Portfolio

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.

www.gigicifali.com

Andrzej Maciejewski: V.I.P. Portrait Gallery | Portfolio

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

www.klotzekstdio.com

Pre-order: Chad Moore – Anyone in love with you (already knows)

dienacht Publishing proudly presents Chad Moore’s book “Anyone in love with you (already knows)”, now available for pre-orders!
PLEASE NOTE that the pre-orders will be shipped on April 1st. UPDATE: The pre-orders were supposed to be shipped on April 1st, but unfortunately, the US mail service is slower than expected, so the small prints didn’t arrived yet. The books are there (and beautiful), the address labels are printed, and everything else is ready to go.
I am sorry for the delay, but the books will be dispatched as soon as the prints will arrive! Thank you for patience and understanding. 

UPDATE 2: The prints just arrived, the books will be in the mail by tomorrow, Wednesday 16!

“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
35 €
Please choose:

Neu im Shop: Calin Kruse – Schmetterling

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.

Risograph printing
64 pages, 14 x 20 cm, open thread stitching
2-color-printed dust cover
Print run (second edition): 200 copies, numbered

20,00 Euro

Marilène Coolens and Lisa De Boeck: The Umbilical Vein | Portfolio

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.

www.memymom.com

Krystel Marois: Neverland | Portfolio

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.

www.krystelmarois.com

Elizabeth C Moran: The Armory | Portfolio

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.

www.elizabethmoran.com

Katharina Lepik: Sisterness | Portfolio

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.

www.katharinalepik.de