Portfolio

Rob Mellink: May I… ? | Portfolio

The pictures for ‘May I…?’ were made during my single encounters with amateur models in hotel rooms.

The stripping before the camera, the subjection of the model to the photographer and the provocative and seductive looks to the camera, are themes that refer to classic ingredients of pornography and fashion photography.

In this fashionable world the interaction between photographer, model and camera is put on edge. But if this game supposes an interaction between two opponents, why is it that we rarely see a real glimp of that interaction in the final picture? Does the camera not merely serve to keep the photographer ‘out of the image’? And does the fashion-picture, after heavy post-processing, still give us room to reflect on the medium of photography itself? Why do we in this case still refer so strongly to the qualifications of ‘real’ and ‘pure’ and ‘clean’?

Without a camera I’m merely a voyeur. But isn’t the photographer a voyeur by definition? Does he not subject its subject to his curious, controlling gaze? A perverse gaze that can only be satisfied by the act of looking itself? Is the ‘guilty’ pleasure of looking without being seen not always present in the core of photography? The camera as a synonym for the keyhole.

I explore the fascination of watching and the attraction of the one I am looking at, from behind the mask of the photographer’s eye. But would the one I’m watching at, grant me permission to do so, if I hadn’t appeared to her as a ‘photographer’?

The pictures of May I…? show a repeating ritual where the interaction of business transaction and human association between the two strangers causes an estrangement where both model and photographer appeal to their own and to each other’s expectations, wishes, roles, desires and insecurities. Over the years I’ve seen many cunts and tits, but I don’t remember any of them. I don’t even remember looking at … It were the looks I remember. That’s what occupied me.

I take pictures of naked girls.
They witness my silent gaze.
I pay them to stare at them. 

www.robmellink.com 

New book: Calin Kruse – No real time info available

A personal story. July-December 2012.

Limited Print Editions available:
28 € 
The printed book
60 €  The printed book + a 13 x 18 cm C-Print (edition of 25, signed and numbered), as seen at the end of the preview.
120 € The printed book + a 20 x 30 cm signed and numbered print (edition of 10) on Hahnemühle Photo Rag, 308 g/m², as seen at the end of the preview.
350 € The printed book + a 30 x 45 cm signed and numbered print (edition of 3), printed on Hahnemühle Photo Rag, 308 g/m², as seen at the end of the preview.

Hard cover, open thread stitching
15 x 20 cm, 96 pages
hand-written cover
Print run: 200 numbered copies
28 Euro (+ shipping)

dienacht Publishing proudly presents: Deep Inside by Tatiana Tcherkezyan

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:

120,00 Euro

Ekaterina Anokhina: Inner Mongolia (2nd Edition)

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

Calin Kruse – You scared the shit out of me, so I’m leaving

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.

p.s. thank you to all supporters of the crowdfunding-campaign. You made this happen.

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
Please choose:

Luca Lupi: Landscapes | Portfolio

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.

www.lucalupi.it

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