Void of everything that is important. I am trying to think about the “road.” I cannot. I am completely exhausted. All in all, I am going only because of the weather. The prospect of wind, snow, and my flashes on the beach did not let me sleep. Besides, I am afraid of the few days of thinking only about Her, and this way I will have the Baltic Sea. My Baltic Sea. Instead of.
“Swell” is a story of a break-up and of unaccepted loneliness. At first it was supposed to be
a documentary project about the Baltic Sea. A plan was drawn up and the places to be visited were marked on the map. During the trips to the Baltic I was accompanied by my girlfriend, until the moment of our parting. The parting changed me and I was no longer able to continue the project according to previously designed plan. I started going back to the places where we were together. Here the project ends, and a personal story begins.
My story “Swell” has been published as a book by the Instytut Kultury Wizualnej in Warsaw.
Book “Swell” was chosen as a finalist in the Best Photography Book Award at Pictures of the Year International in 2014, received 3rd prize at the International Photography Awards in 2013 and Honorable Mention in the Best Photography Book from Central and Eastern Europe 2013-2014 at the European Month of Photography in Bratislava in 2014 and was chosen for “Best Books of 2013″ list by Photo-Eye.
I drew an axis from Venice up to Hamburg, in consecutive travels, residing in reclusion, counterbalancing with backstage stops at Burlesque-and dragqueen shows. Trying to stay ahead of rapid gentrification. It seems that throughout Europe an Old Soul is disappearing. “Everybody wants to build and nobody wants to do maintenance”(*Kurt Vonnegut).
The locations I am hunting for, are, in the photoworks, totally freed from time and space, resulting in a somewhat strange, partially comforting, partially suffocating atmosphere. I call it Neon Poetry. It is my aim to bend kitsch into aesthetics. There are a lot of film noir and other cinematical influences in my photo work. In my recent shows I noticed that I was storytelling because all the imagesreally work well together, and they do so in all directions! The viewer can read many stories. In recent shows I more and more felt the need to give the images ‘a chance on their own’. Hence I now choose for as much decontextualisation and détachement as possible, which is leading towards new work literally to be called ‘Singularities’.
A 9 years journey which core is in Istanbul, a city where I feel at home, as if I had been there in another life. It’s very important to me how the past and the present are connected. I see the pictures as reflections of my emotions as well as my subconsciuos obsessions, my childhood fears and issues with intimacy.
So, here we are again. dienacht is not just a portfolio magazine, but also a personal project. That’s why some personal circumstances lead to the fact that this issue is released much later as it should have been – but now it’s here, on the last days of the year 2014!
We have, once again, outstanding photographers and artists, like Birgit Krause and her out-of-this-world-series “Plánětes”, Jean-Marc Caimi showing a selection from “Daily Bread”, Zhe Chen and her painfully intimate diary “The Bearable”, the funny childhood memories translated into photography by Vendula Knopová, Magdalena Sawicka’s raw but precise illustrations, Elena Montemurro’s “Coming of Age” (which is also this issue’s cover story) and many more incredible photographers and photobook reviews.
The new series from Finnish photographer Markus Henttonen (b. 1976) is a complex journey through landscape, time and emotions. Twisted Tales –Road to Hope consists of precise and yet beautifully poetic portraits, narrative actions and landscapes. This conscious randomness of the photographs create the feeling of a lifelong road trip taking forward through events, emotions and encounters. Twisted Tales strongly balances between the thin interface of real and imaginary. And everything seems so familiar yet there is something strange.
With this series Henttonen has changed his working methods, and in a way returned to the freedom and unrestricted approach of his early photography career. Photographing has been more intuitive and the careful and concentrated editing has only happened afterwards. In photography the unexpected and incidental aspects are always present. Even with a great idea and good planning you cannot not and should not control everything. That unpredictable nature of photography is what makes it so interesting -and also kind of similar to life.
During his years in photography Markus Henttonen´s style has grown recognizable with expression being simultaneously intense and delicate. As a visual storyteller he has shifted from documentary approach deeper into narratives. But the stories in his photographs are only suggestions and the focus is on emotions. It is like he is subtly guiding the viewer to feel and interpret. Henttonen´s undertone of wistful melancholy is present throughout the series in the landscape and peoples´ gestures but at the same time there is this distinct feeling of hope.
Twisted Tales is like life, a unique and exciting travel with joy and sadness of desire and despair combining the most personal with things common. Memories, dreams and reality mix up to profound layers. Despite the flashbacks from the past and the unexpected turns this journey is going forward. It almost feels like a puzzle that will never really be complete. There will always be something little out of place, a little bit twisted.
All 7 – timeless – available issues: dienacht #8, 11, 12, 13, 14, 15 and 16.
Over 800 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 16.
Over 800 pages
40 Euro (instead of 47 Euro regular price)
My family roots back to England, but I was born in Israel. I was a child on a fence; a daughter to a migrating family. The house within culturally stayed European but outside was the Israeli controversial culture. I always felt a misfit with my partial incomplete identity; torn apart between parents who have never blended in to the Middle Eastern culture I felt only half belonged too.
Over the years I have heard of my parent’s memories and stories. I remember hearing of snow, youth and happiness. Stories of happier days. The stories held on to the memories of time and culture that I wasn’t a part of, and portraits of family members that always remained anonymous to me and their faces where no more distinct than any other person in generic photo album. These stories were supposed to be my heritage. As I grew up I’ve started to question photography’s function as my memory, as my family heritage.
Family albums have become a standard for people to portrait their family and create a collective memory. We share a need to capture memories and special moments with the people we know. Things as a birthday cake, children taking a bath or a trip to the beach have become a portrait of the normal, typical family memory. Sometimes we don’t even remember the occasion but we relive it by looking at the picture and assuming we remember the memory. I’ve browsed throw these old photos trying to look for a family but all I found was empty spaces. Stories of places I’ve never been to, people I never saw and a period that I haven’t lived in.
My photographic practice chains together straight and still life photography, found footage from my family history and imagery from family albums. Using photography I’ve conducted an examination of my history. Due to the migration of my family from England to Israel that history discontinued, and therefore I find it hard do consider it as mine. I’m researching a history that I don’t see as actually mine; Family memories that I am not part of. The images become objects that I use in order to create a new history and memory of my own; people and places as I would like to remember and understand them.
I started not only looking for my identity in the old photos but also reflect my feelings from these photos on to the world around me. I look for Moments and objects were there is a tension that is created by their incomplete aesthetic. Photography allows me to look at the little and unimportant objects around me and make them a part of my history. With my camera I grant them with eternity and in that I grant myself a memory.
In my recent work „Arkanum“ I deal with the subject of man`s relationship to its urban environment and architecture.
In a similar way like Godard’s Alphaville, a logic city built and controlled by the Alpha 60 computer my work is about a artificially constructed city of the future that stands in stark contrast to nature.
The city cores of different major cities in Germany built the stage for this work. But also so called “non-places” like trade fairs, outlet center, shopping malls and airports.
The motifs in part refer to real places, but they primarily serve to inspire fictitious, inner images.
„Arkanum“ was self published as a book October 2014.
The Portfolio Review accepts now submissions for 2015! As in the last two years, it will take place during the Duesseldorf Photo Weekend, on Saturday 31 January 2015. The open call closes on 15 December. Further details on www.portfolio-review.de and on https://www.facebook.com/krautmagazin
dienacht Publishing proudly presents Dana Stölzgen’s superlimited (45 copies + 5 copies with a print) and oversized book “My Disguise”!
and through my disguise
someone is looking at me.” – Dana Stölzgen
A Special Edition with a very limited, beautiful 30 x 45 cm Print on Hahnemühle Photo Rag, 308 g/m² is available. Edition of 5, signed and numbered.
Size: A3 (29,7 x 42 cm), 16 pages
Printed on Metapaper 270g/m² Extrarough Warmwhite
Half cover, thread stitching
Print run: 45 copies + 5 Special Editions with a 30 x 45 cm Print on Hahnemühle Photo Rag 308 g/m², signed and numbered
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.
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
Print run: 200 numbered copies
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: