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)
The book is an expedition through the city of Sondershausen in Thüringen. There are no people to be seen and the photos show mostly details shrouded in warm, natural light.
The school, the café, the fashion boutique. If still in use or not, these are the places which played a role in Yvonne Most’s memories of her childhood, and which she visited again with her camera in 2009 and 2010. They are private, dreamy, unagitated pictures, for sure also romanticizing – like memories usually are.
The title and cover have directly appealed to me, and after thumbing through the book I liked it even more. It reminds me of “Rodina” from Irina Ruppert. But it is more about the atmosphere than about the motives.
HOMOurban is supposed to be a book about people in Europe. For me it is a book with good pictures, and lovely designed.
The photos were taken in various places in Europe, and they are rough and observing. They display pleasure of life or melancholy, but they are always vivid. I like Imrich’s view and visual language, and I like the open binding (with blue thread, a nice contrast to the black and white pictures). And the folded poster as cover. Disturbing to me is the date and place of the shot in blue print on each picture. This is too obtrusive, and the information could placed better as index at the end of the book (if at all). That would have helped the design. The work is powerful enough, and nonetheless the book is recommendable.
With a hike to Santiago de Compostela I associate mainly: People, crowd, pain, and in between a bit of self-awareness. In Paul’s book I find what is wanted: Peace. There are calm landscapes which could actually be anywhere, blooming trees, coppice at the roadside. Marks of humans nearly everywhere, but they are not seen at all. What is present in other photobooks about landscapes, is missing over here: the melancholy, the darkness. This is great as therefore the book is pleasing, it is irresistible in a way; I just have to scroll through it again and again to gloat over the peace in it – maybe because it is rousing primary instincts, the desire for inner silence, and in the end also for arrival. As with a hike.
It is about sex. At least this is the topic for it is about a lot more than a sterile world like the porno industry wants to sell us. It is about places, privacy, communication, affection, about the privacy of one’s home. The people in it are far away from what we consider “beautiful”. The places are often untidy – as apartments are when you are not expecting any visitors.
Sometimes you can vaguely discern sex, sometimes see it, for sure you can sense it everywhere. And it is always a little tacky and underground, and for sure honest.
The book has a nice format, small and therefore intimate, well designed and printed on various types of paper that at the same time separate the content into various chapters. Even Gert’s e-mail communication with his models is partly printed which brings closer the hidden macrocosm – which everyone knows, but only from one’s own life – and their characters. Absolutely worth seeing!
‘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.
„Mein Name ist Hengstler, wie der Hengst.“ – L’Hengst eine kleine Liebeserklärung an die Physiognomie des Pferdes. Stillstand und Bewegung, Energie, Masse, Kraft, Würde, Ehrfurcht. Keine Klein-Mädchen-Träume, sondern vielmehr gezielte, sinnliche Fotografien in einem handgebundenen Heft.
Format: 18,5 x 27,5 cm
24 Seiten + Umschlag
offene Bindung, Hand gebunden
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.
Handmade by a traveling bookbinder during her Wanderschaft. The book is signed and numbered, with a 12×16 cm signed print, and is guarded in a handmade red silk wrap with mother-of-pearl buttons and a handmade oak-wooden box.
Wanderschaft is a unique surviving medieval tradition in modern Germany. After finishing their apprenticeship, young craftsmen and craftswomen leave home, family, friends and all their belongings in order to travel and make work experiences in their crafts. Dressed always with the traditional corduroy suit and a black hat, carrying a weird stick and a tiny luggage, the Wandergesellen (journeymen carpenters, stonemasons, smiths and so on) choose to be free and homeless for, so the rule, at least three years and one day.
With many handed down secret rituals and rules, nowadays craftswomen are allowed on the road too: I traveled extensively with many of them. “Wandertage” took the form of a Wanderbuch, the handmade diary Wandergesellen always carry with them, containing job references, city seals and all the history of their Walz.
Wandertage (Special Edition) by Chiara Dazi
Photographs: Chiara Dazi
64 pages, 12 x 16 cm
Edition: 10 + 1AP
Cover: brown leather hard cover.
I started to photograph this series when a swing event started called the “Swing Royal” in the old Admiralspalast theater in Berlin. The area was famous for being the center of amusement and leisure in the 1920′s. Dressed up and ready to spend a glamourouswild night , performers and audience are both an important part in these events as well as for my photographs. The scene became quite big in Berlin. It’s still an ongoing project of mine and I follow the performers around.
Everything is photographed with a middle format Camera.