The HOMOurban series developed during the years of 2007 and 2012. With its visual form, it is a continuation of the strong tradition of the snapshot, but also of Czech documentary photography from the seventies and eighties. Imrich Veber hovers around the unclear border between tendencies that are most often designated as social or subjective documentary; he does not use the technology of today, and so the form of his photographs point to an unanchored timelessness. We find here the crampedness of urban space, the solitude of an individual in the middle of a crowd, absurdity, melancholy, estrangement, an element of the miraculous – all of this – as what usually tends to characterize similar city snapshots in the tradition of documentary photography. And we may even find something more.
Published in Prague, Czech Republic
Edition size: 500
Softcover / covered by the poster
Size: 23,5 x 15,5 cm, 112 pages
Der Titel der zweiten Ausgabe des HANT – Magazin für Fotografie („Das letzte Einhorn“) umschreibt nach Aussagen desMitherausgebers Paul-Ruben Mundthal: „Assoziationen zu den Thematiken Identität, Selbstreflexion sowie Zeitlichkeit. Die Verknüpfung einer surrealen Fabelwelt mit der Fragilität einer einsamen Ikone stand im Mittelpunkt der Ausgabe.“
HANT – Magazin für Fotografie ist eine Initiative von StudentInnen und Alumni der Universitäten Weimar, Jena, Erfurt sowie der Berufsakademie Gera. Das Magazin beleuchtet die Thüringer Fotoszene und fördert die Vernetzung kreativer Potentiale der Region. Die Redaktion sitzt in Erfurt.
Auflage: 500 Exemplare
Format: 16,5 x 22,5 cm, 80 Seiten
dienacht Publishing proudly presents: “Inner Mongolia” by Ekaterina Anokhina.
“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 60 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
3 books: “Darkest” (around) printed on 285 g/m² silver metallic paper / “Kaputt” printed on 200 g/m² vellum paper / “Whole” printed on grey paper
Hand bound, 20 x 28 cm, 76 pages in total
Print run: 10 copies
The regular Edition is sold out. The last copies of the Special Edition with print are available. 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.
64 pages, 14 x 20 cm, open thread stitching
2-color-printed dust cover
Print run: 100 copies, numbered
The regular copies (20 €) are sold out, only the last copies of “Schmetterling + 20 x 30 cm Print” available:
Trier West is considered to be a disadvantaged suburban area with a high rate of unemployment and a lot of low cost housing which was developed from a former barracks.
In spite of various social problems, Trier West is a very lively neighborhood, not least because of its many young and restless people. All know each other, families stick together, and the inhabitants love their neighborhood.
Social life takes place on the street with the neighbors and in the summer months -people sit in front of their houses and chat with passers-by. Kids rush up and down the streets with bikes and greet everyone passing their way, and feed upon the demolished gumball machine.
The street called Trierweilerweg is a kind of passage between downtown Trier and Trier West, which you walk through to get to the low cost houses. I lived in this street for two years, and during this time I documented the everyday life of the 150 meter street section I could see from my window.
A Special Edition of 5 with a signed and numbered Print (20 x 30 cm, printed on Hahnemühle Photo Rag, 308 g/m²) is available. The Special Print Edition is sold out.
Print run: 45 copies + 5 copies incl. a 20 x 30 cm Print, signed and numbered
32 Pages, black and white photographs on cream paper | Size: 18 x 13 cm | 2nd Edition
Cover made of polaroid cardboard, laser perforated
Whilst walking through an eerie forest on the New Mexican border on a trip through the heart of the United States, I misread a sign stapled to a fence. ‘Only we can prevent Wilderness’. This thought has been with me since. It is the examination of nature and our influence on our surroundings that is the foundation of my recent work.
By exploring ideas that provoke the questioning of truth in photographic reproduction, blurring the boundaries between fiction and non-fiction, I attempt to build a story of an alternate nature. One in which is either devoid of people and the built environment or one which has taken a fictional event to have them vacate.
This is a narrative between the forces that pull and push our understanding of the place we stand. The isolated desert city running on oil generators, the mars like landscapes of a volcanic environment and the mountains made from paper all attempt to start a conversation concerning the loss of meaning and reality. Building a sense of desertification in the various bodies of work.
The very new dienacht issue arrived, featuring, among others Asger Carlsen’s “Wrong” series (also the cover story), and more photography by Chinese photographer Ren Hang, by Palíndromo Mészáros, Julia Sonntag, Scott Typaldos, “unlikely” objects by Giuseppe Colarusso, a design Portfolio by Sfia Brajal, photo book reviews, …
There is a also a brand new section: dienacht Short Stories showcases short portfolios by 12 photographers – we wanted you to see even more intriguing works and get more sources of inspiration. They are supposed to encourage the reader to learn more about the particular photographers and works, to visit their websites, to track their work process.
All 8 available – timeless – issues: dienacht #8, 10, 11, 12, 13, 14 and the special issues “Ostkreuzschule – Faits Divers” and “Young Polish Photographers”). Over 900 pages of intriguing photography, graphic-design, illustration, art and stories, photo book reviews, and so much more.
All 8 available issues: dienacht #8, 10, 11, 12, 13, 14 and the special issues “Ostkreuzschule – Faits Divers” and “Young Polish Photographers”.
Over 900 pages
50 Euro (instead of 60 Euro regular price)
‘Improvisierte Demokratie’ Eine Fotodokumentation kurioser Spuren eines Systems bezeichnet eine Fotoreihe, in welcher ungewöhnliche Wahllokale an Originalschauplätzen durch die Fotografen Ansgar Dlugos und Manuel Kaufmann nachinszeniert werden.
Die Reihe ‘improvisierte Demokratie’ reinszeniert ungewöhnliche Wahllokale an ihren Schauplätzen, die zuweilen fast abstrakt und immer deplatziert wirken. Der Spannungsbogen zwischen einem improvisierten Charakter von Wahllokalen im allgemeinen und den für die meisten Bürger in diesem Kontext unvorhergesehenen Orten bildet den Ausgangspunkt der hier gezeigten Fotoserie. Darüber hinaus repräsentieren die gezeigten Orte in ihrer eigentlichen Funktion einen Querschnitt der Bevölkerung und unterschiedlicher Motive und Überzeugungen, der die sie im Alltag frequentierenden Menschen. So wurden im Zuge der Recherche Orte wie Autohäuser, Kneipen, Schulen, Kirchen und Bauten aus Zeiten des Sozialismus und Nationalsozialismus als Wahllokale ausgemacht und fotografiert.
Über die Fotografen
Die Künstler lernten sich bei der erfolgreichen Teilnahme eines Fotowettbewerbs (Deutscher Jugend Fotopreis) im Jahr 2002 kennen und bilden seitdem ein Fotografenkollektiv, das konzeptuell im Bereich Dokumentation und People langfristige Projekte erarbeitet. Ihre erste gemeinsame Fotoserie ‘lichtecht’, eine reduzierte Erfassung über Menschen und deren Identität, wurde mit dem Förderpreis des Deutschen Jugend Fotopreises 2004 ausgezeichnet. Ebenso waren sie als Gruppe in den Jahren 2006 und 2010 als Gruppe Preisträger in diversen Kategorien beim Deutschen Jugendfotopreis vertreten.
Ansgar Dlugos ist derzeit Student der Fachhochschule Dortmund; aktuelles Langzeitprojekt: „Leben auf Zeit“ – Alltag im Gefängnis, erschienen im Kettler-Verlag 2013. www.ansgardlugos.de
My intention with this work was to embed myself into the life of my relatives in Congo DR in order to produce a work that reflects my relationship with a new environment and depicts the living conditions and social reality in the country.
Przemek Strzelecki is a street and documentary but most of all humanist photographer born in Poland. He is a fan of hats and photo films. In love with Mongolia, indefinite spaces, and silence. He likes beer, books and horses. You will find him always with a camera in his hand.
My newest series – Gesture – is a summary about body language, relationships and interaction between two people. How people interact with each other is one of the most intriguing parts of human life. The small touches, the little glance, the imaginary spaces between two individuals, etc. I photographed this series with an analogue camera to capture the moment as close to reality as possible.
The photographic series Messages from the Darkroom investigates the connection between photography and the occult. Based on historical photographs published by early twentieth century parapsychologist Dr. Albert von Schrenck-Notzing, Messages from the Darkroom enquires the ability of the photographic camera to capture magical or paranormal phenomena.
Schrenck-Notzing, like many other scientists in this era of technical revolutions, when modern media began to make their first steps, was interested in occult phenomenona like mediumship and the physical exposures human trance-mediums were said to be able to produce. By using a photographic camera he tried to give a solid proof for the occult phenomenons to be part of reality. He believed in the objectivity of the photographic image and its technique which allowed him to exclude any doubt or suspicion of human fraud. What we see as the result of his photographic experiments are rather obscure than illuminative images which are unique in the history of photography.
Messages from the Darkroom uses this ambivalent imagery of Schrenck-Notzing‘s historical photographs to ask if photography is sensitive enough to record supernatural phenomena. Between the desire to expose the supernatural and the acceptance of the technical impossibility to capture it, the work opens up a space of eventualities where analogies between the photographic technique and occult practices get visible: The darkroom turns into the séance-room just like the photocamera becomes the medium in trance. Eventually, the photographic technique, generally understood as a means of objectively capturing reality, is shown in a different light: it seems that during the photographic séance the camera reveals its own magical aura.