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.
A photozine about moments. Not about the moment itself, but about being part of it.
Copper metallic dust cover
32 pages: 8 digital printed pages (covers) on 170 g/m² vellum paper + 24 risograph-printed pages
13 x 19.5 cm, hand-bound
Print run: 50 numbered copies
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.
Get your copy here (worldwide shipping): www.dienacht.bigcartel.com
1000 copies, numbered
128 pages, 15 x 18 cm
offset print, in English and German
I met Nadia during the OBSCURA Festival of Photography in George Town, Malaysia. We didn’t had much time, but she showed me her book “[n]” and some time after I sent her a message saying that I’d like to order it.
Well, she didn’t sent just the book, but a whole package with books and zines made by Malaysian Photographers! Take a look, check their work, buy their books and zines.
In order of appearance:
Nadia J. Mahfix – Nowhere
Nadia J. Mahfix – [n]
Hafiz Hamzah – 20 fotograf Jepun
Hasful Zainuddin – Mata Hati
Nik Adam – Tinggal
Hafiz Hamzah – Cahaya Pertama Yang Terserap
Hasful Zainuddin – For those who had been used …
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.
Here we go again: Five copies of the dienacht Special Issue “Young Polish Photographers” and five copies of “dienacht” #10 (both are actually sold out since ages) just came back to me.
They are most probably the very last ones, so that’s your chance if you missed them before:
http://dienacht.bigcartel.com/product/dienacht-special-issue-young-polish-photographers and here: http://dienacht.bigcartel.com/product/dienacht-magazine-10
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 Magazin / dienacht Publishing sucht Verstärkung!
Ich suche eine Kulturmanagerin / einen Kulturmanager auf Freelance-Basis, am besten in Leipzig oder Umgebung, für eine vielfältige, projektbezogene Zusammenarbeit im Bereich Antragstellung, Aquise und Marketing. Grundkenntnisse in WordPress / CMS wären super, aber keine Bedingung.
Only this week:
Free worldwide shipping for Calin Kruse’s newest book “No real time info available”, published by dienacht Publishing.
The free shipping is also available for the Print Editions!
Take a look or get it here: www.dienacht-magazine.com/2014/09/30/calin-no-real-time/
We at dienacht Publishing are happy and honored that NOCTURNES is one of only 15 books at the exhibition “Reading a Photobook”, among authors / photographers like Cristina De Middel, Taryn Simon, Alec Soth or Erik Kessels!
The project “Reading a Photobook” is a guide into contemporary photobooks and into the diverse ways of “reading” them. The project consists of an exhibition, a workshop, and a competition on photobook review writing. “Reading a Photobook” focuses on both a photographer and a critic, an image and a text, practice and theory.
The exhibition, located at the Gallery of Printing, presents 15 works grouped into five chapters according to ways artists work with their material: photobook as a research, as a collaboration, as an experiment, as an image, and as a publication based on a different book.
Will you be interpreting photographs, analyzing design and texts, comparing a book with another one, or just scenting an odor and feeling the touch of paper?..
Visitors will choose their own ways of “reading” photobooks. As well as they will be introduced to photobook world’s experts’ opinions about publications through a take away booklet full of quotations from blogs, books and other platforms devoted to photobooks.
Books at the exhibition:
AM projects (Aaron McElroy, Daisuke Yokota, Ester Vonplon, Gert Jochems, Olivier Pin-Fat and Tiane Doan na Champassak), “Nocturnes” / Oliver Chanarin & Adam Broomberg, “Holy Bible” / Frank Bruggeman, Ernst van der Houven, Samira Ben Laloua, “Club Donny” / Hans Gremmen, “The Mother Road” / Jacqueline Hassink, “The Table of Power 2″ / Erik Kessels, Erik Steinbrecher, Erik Van Der Weijde, “Tables to Meet” / Cristina De Middel, “Party, Quotations from Chairman Mao TseTong” / Jim Reed, “The Aggressors” / Tørbjørn Rødland, “Vanilla Partner” / Machiguchi Satoshi, MATCH & Company, “Live Match Kyoto” / Lieko Shiga, “Rasen Kaigan/album” / Taryn Simon, “Birds of the West Indies” / Alec Soth, “Poster Book” / Stéphanie Solinas, “Sans Titre, M. Bertillon” / Eric Stephanian, “Lucas”.
Gallery of Printing in St. Petersburg, Obvodny channel emb., 199-201, building 4.
Opening: the 1st of October, 19.30 | Visiting hours: from the 2nd of October till the 30th of November 2014, workdays – 15.00 – 22.00, Saturday & Sunday – 10.00 – 22.00
Get a copy of NOCTURNES here.
Calin Kruse / dienacht Magazine and dienacht Publishing will be at Polycopies in Paris during Paris Photo! This week, from Wednesday till Saturday. Come by and say ‘hi’!
We also organize some book signings and one book release (“My Disguise” by Dana Stölzgen), here are the dates:
Chad Moore – Fri. 14th, 16:00
Ekaterina Anokhina – Fri. 14th, 17:00
Dana Stölzgen – Sat. 15th, 15:00
Was ist in Polen nach einhundert Jahren vom 1. Weltkrieg noch zu sehen? Eigentlich nichts. Selbst die Landschaften scheinen sich kaum verändert zu haben.. Eric Pawlitzky hat anhand historischer Quellen Orte der Gewalt recherchiert und sie in ihrer heutigen Gestalt abgebildet. Ihm ging es um größtmögliche Authentizität, aber zugleich um einen Blick auf Polen, der sich im ersten Moment auf die Schönheit der Landschaft zu konzentrieren scheint. Die recherchierten Texte zum Geschehen während des Krieges vermitteln dem Betrachter der hochwertigen farbigen Prints ein ambivalentes Gefühl. Pawlitzky hat mit digitalem Mittelformat gearbeitet und bewusst eine sehr malerische Bildsprache gewählt.
“Eric Pawlitzkys fotografische Ansichten polnischer Landschaften sind durchaus dazu angetan, romantisches Naturgefühl zu wecken: breit im Querformat hingelagertes Grün, zu sanften Hügeln gewellt oder durchzogen vom Silberblau eines Flüsschens, umwoben von frühmorgendlichem oder spätabendlichem Dunst. Hier das Band einer Straße, dort eine Kette filigraner hölzerner Strommasten – das stört den Eindruck von Ursprünglichkeit, ja Zeitvergessenheit nicht ernsthaft. „Landschaften, die oft, anders als in Deutschland, nicht industriell überformt wurden“, charakterisiert der Berliner Fotograf seine Motive selber. Eine Bucht zwischen Bäumen im Gegenlicht lässt an Lorrain denken, ein Zwielichtstück an Elsheimer, ein Weg mit Baumschatten darauf an Corot und die Schule von Barbizon, ein von Mohn, Kamille, Kornblumen gesprenkeltes Feld schließlich an Monet und seine Impressionisten-Freunde. Doch wird jede Farbfotografie begleitet nicht nur vom Titel, der die den Ort identifiziert. Durchweg folgt ein Text, der – als Auszug aus einem zeitgenössischen Militärbericht – beschreibt, welches Kampfgeschehen des Ersten Weltkrieges just an diesem heute so friedlichen Ort stattfand. Markige Sätze aus deutscher Sicht, deren Hurra-Patriotismus heute schaudern macht. Es sind aber auch Sätze, die uns die Bilder nochmals und anders wahrnehmen lassen. Unweigerlich denkt man: Was das Wiesengras und die Sumpfstauden so saftig, die frisch umgepflügten Ackerschollen so fett macht, muss das Blut der vor 100 Jahren Gefallenen sein.” – Dr. Roland Held / Darmstädter Echo
Hardcover, Fadenheftung, Bildapplikation mit thermoaktiver Folie
30,5 x 21,5 cm, 76 Seiten
Auflage: 500 Exemplare
Design: FLUUT Grafik-Design