Die Edition “Die große Antike” umfasst 35 Plakate im Format 59,4 x 84,2 cm im Digitaldruck auf Affichenpapier, gefalzt auf A4.
Zu sehen sind Fragmente eines Badezimmers. Tapete, Fliesen im Marmordekor. Ein Fenster ist zu sehen, eine Lampe mit einem Ornament. Dieses Ornament wird als Mäander bezeichnet. Im antiken Griechenland stand der Mäander für die Ewigkeit durch Reproduktion. Das alternde Geschöpf ersetzt sich durch ein Junges und ward unsterblich. Die Grazie der einer jungsteinzeitlichen Ornamentik im Kontrast mit zeitgenössischer Alltagsästhetik.
Die große Antike
Ich verstehe nicht. Ich weiß, ich verstehe nie. Aber ich versuche. Sehe die Fassaden.
Die Gläser. Die Steine. Sehe die Videos und die Fotos. Sehe Haare auf dem Boden. Sehe Fliesen, sehe Fugen. Sehe Säulen. Suche ein Oben und ein Unten. Sehe ein Oben und ein Unten. Aber finde es nicht.
59,4 x 84,2 cm, 4C-Digitaldruck,
115g Affichenpapier, gefalzt
This project combines archive material with original photographs made to reproduce elements and events connected to the story.
The facts have been reworked through the fictional filter specific to photography as well as digital interventions.
As biographies blur in this unusual approach to imaging, the narrative builds itself freely.
The title suggests that choosing between two undesirable options is pointless, as they both lead to the same end.
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.
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.
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 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.