Fotoii Mag – Issue #002

Editorial

Dear readers, Time seems to fly by as here we are already with our third issue! This month it is with great pleasure that we invite you to discover two photographic essays which delve into the subject of energy, and two essays which explore themes based around geometric and divine forms.

Around 500’000 BC, mankind started learning how to master fire. Since then, the control and manipulation of energy represents one of the predominant issues in the evolution of civilisation and of its relationship with the environment. In their series, the two Swiss artists Meinrad Schade and Olivier Lovey explore the mystical and destructive aspects of this universal theme. After all, energy itself is neither all good nor all bad. It is us, the human race, who have the power to change the course of history by either creating wonders or inducing negative effects.

Through their contributions to this issue, Danny Ma and Edward Burtynsky invite us to discover the world both from ground level and from the sky. With his series Suzhou Museum, Danny Ma plays with light and strong geometric shapes, adopting an elegant minimalism which reflects the nature of great Asian art. Edward Burtynsky takes our breath away once again with his project Water, in which he captures the fragility of our planet with a feeling somewhere between wonder and concern. Thanks to his unique viewpoint and strong choice of angles, we are fully immersed into nature’s divine universe.

In images which are powerful and striking, yet also incredibly delicate, Edward Burtynsky reveals the fragility of our environment.

I’d like to extend a heartfelt thanks the artists who have freely made their work available to us, allowing us to create this new issue. I encourage you, dear readers, to take the opportunity to show in one way or another your support to the artists who wholeheartedly deserve it.

Yours truly,

Marcel Boner

Olivier Lovey Puissance Foudre.

Francesca Wilkins

In the exceptionally detailed images of Puissance Foudre (“lightning power”), photographer Olivier Lovey captures the unique atmosphere of one man’s personal atelier, delving into the secret world of Jacques Emery, a professional electrician who spends his spare time creating lightning in an underground basement crowded with electrical devices and a number of various other machines.

Teeming with outdated television sets, rows of switches, dials and gauges, cathode valves, old fuses, and other instruments and bizarre contraptions - in addition to an array of seemingly useless oddsand-ends - Emery’s strange laboratory instantly brings to mind science fiction films from a bygone era.

Included amongst his machinery is a one-and-a-half-million volt Tesla coil, centrepiece of his workshop, as well as prototypes of devices which he himself has designed. The act of building these machines and creating lightning is for Emery a simple pastime, his machines serve no ultimate purpose, but exist out of one man’s innate curiosity - a demiurgic curiosity which plays such fundamental a roll in human nature.

Lovey describes Emery’s practice as promethean. A small detail from his laboratory, a pulsating apple suspended on electrodes in a transparent box, can be seen as a subtle symbol of the spark of life granted to mankind - a spark which Emery recreates and shapes as he pleases.

Jacques Emery himself appears in the photographs as a mysterious and fleeting figure and we only ever catch glimpses of him – in one image he looks out from behind a wall, almost as though he has accidentally stepped into the frame, in another image we see merely his shadow. It’s impossible not to be drawn in by Olivier Lovey’s incredibly intriguing photographs. Dramatic lighting deepens the mysterious nature of the space, while the use of black and white confers a timeless quality to his images. Olivier Lovey captures Emery’s personal space with a touch of mysticism – bestowing a sense of nobility to this man’s somewhat arcane practice, to the effect that the viewer’s curiosity is incited and one yearns to learn more about him and the peculiar devices he constructs and operates.

In Puissance Foudre, Olivier Lovey invites us to glimpse into the esoteric workshop of Jacques Emery, an electrician who in his spare time builds peculiar electrostatic machines and creates lightning. Lovey’s photographs convey the sense of mysticism surrounding the man’s curious practice, luring the viewers into his strange and secret world.

Multiplicateur circulaire, prototype II 300’000 (V)

ŠOlivier Lovey

Atelier Next page Générateur impulsionnel à haute puissance 6’300 (V)

ŠOlivier Lovey

ŠOlivier Lovey

Projecteur quantique Next page Laboratoire

ŠOlivier Lovey

ŠOlivier Lovey

Bobine Tesla 1’400’000 (V)

ŠOlivier Lovey

Meinrad Schade The Calamity of History.

Nancy Brokaw

In 1947, the dawning days of the Cold War, Larentiy Beria—

people who call the region home. The most wrenching of these

Stalin’s deputy premier and the ruthless head of the NKVD—chose

images portray horribly compromised bodies: Nikita Bochkarew, born

the steppes of eastern Kazakhstan as the site for the Soviet atomic

with cerebral palsy and confined to his fourth-floor apartment; Ana-

bomb project.

toly and Alexander Shakhvorostow, mentally disabled brothers whose

Two years later, on August 29, 1949, the Soviets conducted

84-year-old mother worries for their future; Dina Batirowa, a hydro-

Operation First Lightning in the region, called Semipalatinsk. It was

cephalitic seven-month-old; Maksh Iskakowa, blinded in 1953 by the

to be the first of 456 atomic bomb tests performed in the area over

last thing she ever saw.

Scrupulously presenting the wider context of his story, Schade

the next 40 years.

The official story held that Semipalatinsk was unpopulated,

includes ghost images of the once-secret city that served as the So-

but the truth lay elsewhere: locals estimate that hundreds of thou-

viet command center: the abandoned control unit, the test site itself,

sands of people lived within an 80-km radius of the site. And with

the local KGB headquarters, the deserted streets. He offers, too, pho-

virtually no measures taken to protect the inhabitants, the legacy of

tographs of the contemporary city, including a surreal image of a wed-

those tests was devastating.

ding celebration at the monument to the victims of the nuclear tests.

Today, the region reports double the worldwide cancer rate,

Part of a larger project called “Before, After and Beside the

and inhabitants suffer a shocking array of genetic defects, including

War: A Search for Traces on the Margins of Conflict,” this series

melanoma, leukemia, neurological deformities, and amelia (the medi-

contemplates the intimate tragedies begotten by the larger calamity

cal term describing babies born without limbs).

of history. One of Schade’s most haunting images, taken in a regional

In his “Scorched Earth” series, Meinrad Schade has documented the toll that four decades of nuclear testing took on the

medical museum, depicts a pair of deformed fetuses, forever suspended in their formaldehyde jar, endlessly beseeching for mercy.

Between 1949 and 1989, the Soviets conducted nearly 500 nuclear bomb tests in the Kasakh region of Semipalatinsk. In his “Scorched Earth” series, the Swiss photographer Meinrad Schade shows us what remains: the abandoned site, the scarred landscape, the damaged inhabitants.

1_ Semipalatinsk, Kasachstan Jun 31, 2010

3_ Dina Batirowa Aug 02, 2010

2_ Semipalatinsk Kasachstan Aug 08, 2010

4_ Two fetuses Aug 02, 2010

©1/ Meinrad Schade

2 / ©Meinrad Schade

3 / ©Meinrad Schade

Leftover analog C-Print auf Dibond 3/3 + 2 AP 110 x 140 cm

4 / ©Meinrad Schade

6 / ©Meinrad Schacle

5 / ©Meinrad Schacle

5_ Nikita Bochkarew Aug 06, 2010 6_ Berik Bostaew Aug 03, 2010 7_ Berik Sysdikow Aug 01, 2010

7 / ©Meinrad Schacle

©Corinne L. Rusch

8_ Near from Snamenka, Kasachstan Aug 03, 2010

ŠMeinrad Schacle

Danny Ma Suzhou Museum.

Francesca Wilkins

Through the elegant black and white photographs of Suzhou

Danny Ma describes his interest as lying predominantly in the

Museum, contemporary artist Danny Ma sets about delving into sub-

essential relationship between nature and human culture – a rela-

ject matter quite literally close to home. For the first time he has based

tionship which he sees extended to the tool in his hands, the came-

a project around a personal motif, expressed through the aesthetic

ra representing an outcome of this synthesis. In Suzhou Museum,

familiar to his architecture photography.

this connection is most noticeable in the way in which the graceful

Suzhou, China is where Danny Ma was born, where he grew

architecture interacts with its surrounding environment, with both

up and where he graduated from university. Its museum, designed

elements - the man-made and the natural - sharing a refined mini-

by architect I.M. Pei, opened in 2006 and is home to a collection of

malism. Through simplified geometric constructions reflecting in the

ancient Chinese art and calligraphy. This poetic and somewhat intros-

pools of water, rays of sunlight filtering through the ceiling blinds and

pective series originates from a desire of the photographer to create

stark shadows projected across immaculate white walls, architecture

images around the feelings he has towards his hometown. In Suzhou

and nature become one, creating a visual manifestation of that bond

Museum, Danny Ma’s emphasis is on the sharp geometrical patterns

between the natural environment and human culture. A correlation

which delineate the space, but at the same time he distances himself

which perfectly mirrors the essence of the space, as, historically, na-

from much of architecture photography: his view tends towards a no-

ture has always been a subject inherent to Chinese art.

tably more humanistic approach, despite the absence of human pre-

Suzhou Museum is not simply a series about architecture,

sence in these photographs. The museum building, modern yet also

but represents a personal reflection on the bond we share with the

characteristically Chinese, appears as though to be standing peace-

spaces which we inhabit, the roots of which can be traced back to

fully and timelessly in a space of its own design, like an open invitation.

the ancient world.

In the refined black and white images of Suzhou Museum, Danny Ma takes a personal approach to architecture photography, exploring the fundamental relationship between nature and human culture. The elegant building and its surroundings form a visual harmony to represent the age-old synergism between the two.

ŠDanny Ma

ŠDanny Ma

ŠDanny Ma

ŠDanny Ma

ŠDanny Ma

Edward Burtynsky Where We Stand.

Nancy Brokaw

At first glance, the photographs seem im-

depiction of polluting runoff in Cerro Prieto Geo-

possible, made by a creature untethered from the

thermal Power Plant, for just one example—Bur-

laws of gravity. Surely, only a bird could have seen

tynsky maintains an even-handed tone overall.

that view into the cavernous stepwell water-sto-

Wanting to tell the whole story, he explores the

rage tank. Is the discharge running from that Mexi-

cleansing power of water, documenting the annual

can geothermal plant depicted in cross-section?

pilgrimages of the Hindu faithful to the Ganges

The herd of irrigation pivots replicate endlessly

and, in an imaginative leap, of British tourists to the

across the horizonless Texan landscape.

Costa del Sol. Likewise, he maintains a stance of

Where the photographer stands deter-

dispassionate curiosity as he considers practices

mines what we see, and what we see in Edward

both sustainable and polluting: water management

Burtynsky’s latest series is a god’s-eye view of our

in Indian stepwells and Chinese hydroelectric dams

engagement with the primal element: how water

and farming practices from Texan irrigation pivots

shapes us and how we, in turn, shape water. Bur-

to floating farms in Fujian Province.

tynsky uses just about every high-tech device in

Burtynsky’s culminating images take us

the book to get these impossible shots. By turning

directly to the source: the Canadian mountains and

to technologies that enable him to operate his

Icelandic glaciers where the waters that sustain

camera remotely—including helicopter drones—he

us originate. Pristine, devoid of human presence,

explains, “I could work backwards from the subject

these photographs inspire awe, with spaces so vast

matter to the point of view, and … for the first time

they seem beyond our ability to comprehend, and

completely release myself from gravity.”

remind us that the story is not wholly ours.

Water is organized thematically, grouped

Where do we stand in all this? For Burtyns-

into six chapters that also work backwards. Unwin-

ky, the answer is clear: in the thick of it. “Water is

ding from the despoiled present to a pristine past, it

not optional,” he observes in Watermark, the accom-

proceeds from the damage our interventions have

panying documentary film. “My hope is that these

wrought (distress), through the interventions them-

pictures will stimulate a process of thinking about

selves (control, agriculture, aquaculture, water-

something essential to our survival, something we

front), back to the beginning itself (source).

often take for granted—until it’s gone.”

Where many of the images intend to alarm—the

This series traces the story of the essential element, from its sources to the ways we use, and abuse, the waters we rely on. Taking advantage of a wide array of technologies, the Canadian photographer Edward Burtynsky has made a series of painterly photographs that are simultaneously alarming documents and sublime works of art.

1 ﾂｩEdward Burtynsky

1 ﾃ僕fusﾃ｡ River #1 Iceland 2012 2 Cerro Prieto Geothermal Power Station Baja, Mexico 2012

3 Salt River Pima-Maricopa Indian Reservetion Scottsdale, Arizona 2011 4 Pivot Irrigation #11, High Plains Texas Panhandle, USA 2011

5 Stepwell #4, Sagar Kund Baori Bundi, Rajasthan, India 2010 6 Benidorm #2 Spain 2010

2 ŠEdward Burtynsky

3 ŠEdward Burtynsky

4 ŠEdward Burtynsky

5 ŠEdward Burtynsky

6 ŠEdward Burtynsky

ŠTomohide Ikeya

Fotoii’s selection Tomohide Ikeya Breath.

I only became aware of the true nature of life and death after engaging deeply with the world of water. This happened long before I started photography when one day, by chance, I was invited to go diving, and upon seeing that underwater world I was immediately held captive. The various phenomena and life forms which exist only in the water and the beautiful play of water and light filled me with excitement and a strong sense of elation. It is a world in which walking becomes difficult, and weather conditions can sometimes prevent you from entering at all. Training and careful preparation are necessary.

Above all, there is a limit to the number of breaths you can take, and it is this, the most vital of the many restrictions that exist in this world, on which this work “Breath� is focused. Breathing is something that is indispensable to us all; it is a process, which will and must be repeated unceasingly throughout our lifetimes, and we consider death to be the point at which breathing stops.

However, breath is also invisible, and as such I think it is not something which usually registers in our consciousness.

By separating ourselves from this necessary and natural phenomenon, so critical to our very existence, we can begin to consider its true essence and value.

Breath #102 2011

Photo-Festivals 2014

Filter Photo is a non-profit dedicated to the development and sup-

course the portfolio reviews that remain at the heart of the Festival.

port of Chicago’s photographic community. Filter Photo’s mission is

The majority of our events will take place in downtown Chicago, a

twofold: first, to connect emerging, mid-level, and professional pho-

vital metropolitan area famous for its world-class cultural institutions.

tographers with gallery directors, educators, academics, curators, and

Next September, the annual Filter Photo Festival will return with

other elite photography professionals from across the country, with

workshops, portfolio reviews, lectures, panel discussions, and a va-

emphasis on those of the Midwest, and in particular those of Chicago;

riety of additional programming. Once again Filter will bring elite gal-

and second, to secure Chicago as a vibrant center and destination

lery owners, museum directors, curators, publishers, and other VIPs

for the national photography community, in part by uniting the city’s

from across the country to meet with and educate our attendees. The

different groups and institutions in one event.

Festival will build off past partnerships with cultural and educatio-

The 2014 Festival will take place from September 24th-28th and

nal institutions including the Museum of Contemporary Photography,

programming will encompass a variety of events, including works-

Harrington College of Design, Columbia College Chicago, Schneider

hops, lectures, tours, panel discussions, networking events, and of

Gallery and David Weinberg Photography.

Filter PhotoFestival Millennium Knickerbocker Hotel 163 East Pearson Place 800-621-8140

from september 24 until 25, 2014.

www.filterfestival.com

Calendar Festivals

Photo España Jun 04 – Jul 27, 2014 Madrid . Spain www.phe.es

Visa pour l’image 2014 Aug 30 – Sep 14, 2015 Perpignan . France www.visapourlimage.com

Belfast Photo Festival Jun 06 – Jun 30, 2014 Belfast . North Ireland www.belfastphotofestival.com

Getxo Photo 2014 Aug 28 – Sep 28, 2014 Getxo . Spain www.getxophoto.com

Lumix Jun 18 – Jun 22, 2014 Hannover . Germany www.fotofestival-hannover.de

Images 2014 Sep 13 – Oct 05, 2014 Vevey . Switzerland www.images.ch

f-stop Jun 23 – Jul 01, 2014 Leipzig . Germany www.f-stop-leipzig.de

Manifesto Sep 19 – Oct 04, 2014 Toulouse . France www.festival-manifesto.org

Promenades Photographique Jun 20 – Sep, 2014 Vendôme . France promenadesphotographiques.com

Filter Photo Festival Sep 24 – Sep 28, 2014 Chicago . United States www.filterfestival.com

PhotoIreland Jul 01 – Jul 31, 2014 Dublin . Ireland www.photoireland.org

Brighton Photo Fringe Oct 04 – Nov 02, 2014 Brighton . United Kingdom www.photofringe.org

Les Rencontres Arles Jul 07 – Sep 21, 2014 Arles . France www.rencontres-arles.com

Emop 2014 Oct 16 – Nov 16, 2014 Berlin . Germany www.mdf-berlin.de

Bienne Festival of Photography Aug 22 – Sep 14, 2014 Bienne . Switzerland www.2014.jouph.ch

Angkor Photo Festival Nov 29 – Dec 06, 2014 Siem Reap . Canbodia www.angkor-photo.com

Cortona 2014 Jul 17 – Sep 28, 2014 Cortona . Italy www.cortonaonthemove.com

Ballarat 2015 Aug 22 – Sep 20, 2015 Ballarat . Australia www.ballaratfoto.org

Dong Gang Festival Jul 18 – Sep 21, 2014 Dong Gang . South Korea www.dgphotofestival.com

6. Fotofestival 2015 Sep 19 – Nov 15, 2015 Mannheim . Germany www. fotofestival.info

Gilles Favez

Fine Art Prints on Silver Gelatine Papers Vevey . Switzerland +41 21 921 25 78 contact@gillesfavez.ch

Calendar Exhibitions

Switzerland

New Photography from Switzerland Groupe Exhibition Mar 08 – Aug 24, 2014 Fotomuseum Winterthur Winterthur . Switzerland www.fotomuseum.ch

Wasserfall Giro Annen Jun 07 – Aug 31, 2014 Bündner Kunstmuseum Postplatz Chur . Switzerland www.buendner-kunstmuseum.ch

Komische Bilder Peter Klaunzer Jul 24 – Sep 25, 2014 MAZ Galerie Murbacherstrasse 3 Lucerne . Switzerland www.mazgalerie.ch

Tant et temps de passages Bernard Dubuis Mar 21 – Aug 30, 2014 Swiss Camera Museum Grande Place 99 Vevey . Switzerland www.cameramuseum.ch

TOKYO2020 Group Exhibition Jun 14 – Aug 02, 2014 Christophe Guye Galerie Dufourstrassse 31 Zurich . Switzerland www.christopheguye.com

Women Tom Wood Feb 23 – Apr 06, 2014 Galerie TH13 Theaterplatz 13 Bern . Switzerland www.fondationdentreprisehermes.org

CCCC Luc Chessex Jun 04 – Aug 24, 2014 Musée Elysée 18, avenue de l’Elysée Lausanne . Switzerland www.elysee.ch

Post Natural History Vincent Fournier Apr 30 – Jun 07, 2014 QUAI N°1 Place de la Gare 3 Vevey . Switzerland www.images.ch

Cities in Images Christa Ziegler May 24 – Jun 28, 2014 OSLO 8 Oslostrasse 8-10 Basel . Switzerland www.oslo8.ch

Haus am Gern B. Meyer Cesta & Rudolf Steiner Jul 06 – Aug 17, 2014 Photoforum PasquArt Seevorstadt 71 Biel . Switzerland www.photoforumpasquart.ch

Untitled Horrors Cindy Sherman Jun 06 – Sep 14, 2014 Kunsthaus Heimplatz1 Zürich . Switzerland www.kunsthaus.ch

YAKUZA Anton Kusters Jun 15 – Aug 03, 2014 Galerie FOCALE Place du Château 4 Nyon . Switzerland www.focale.ch

Against the Grain Image : Allan Sekula Jun 06 – Jul 27, 2014 Centre de la Photographie 28, rue des Bains Geneva . Switzerland www.centrephotogeneve.ch

Passions Bill Viola Apr 12 – Jul 20, 2014 Kunstmuseum Bern Hodlerstrasse 12 Berne . Switzerland www.kunstmuseumbern.ch

African Beauty J.D.’Okhai Ojeikere Apr 10 – Jul 05, 2014 Gallery Focus 21 Beethovenstrasse 20 Zürich . Switzerland www.focus21.ch

Chocolate & Diamonds Vik Muniz Jun 06 – Jul 12, 2014 Edwynn Houk Gallery Stockerstrasse 33 Zürich . Switzerland www.houkgallery.com

Europe

Bilder von der Grenze 1914/18 Jun 07 – Oct 12, 2014 Fotostiftung Schweiz Grüzenstrasse 45 Winterthur . Switzerland www.fotostiftung.ch

Caravan Eva-Fiore Kovacovsky May 10 – Jul 27, 2014 Aargauer Kunsthaus Aargauerplatz Aarau . Switzerland www.aargauerkunsthaus.ch

Photographies Sabine Weiss Jun 20 – July 20, 2014 Photobastei Bärengasse 29 Zurich . Switzerland www.photobastei.ch

Water Edward Burtynsky June 14 - July 25 Schaublein + Bak Sihlberg 10 Zurich . Switzerland www.scheubleinbak.com

The Enclave Richard Mosse Jun 27 – Nov 11, 2014 FoMu Waalsekaai 47 Antwerp . Belgium www.fotomuseum.be

Solo Exhibition Emmet Gowin May 14 – Jul 27, 2014 Fondation HCB 2, Impasse Lebouis Paris . France www.henricartierbresson.org

Le théatre du crime Rodolphe Archibald Reiss May 25 – Dec 07, 2014 Musée de la Photographie 11, avenue Paul Pastur Charleroi . Belgium www.museephoto.be

America Latina, 1960 – 2013 Groupe Exhibition May 24 – Sep 29, 2014 Fondation Cartier 261, boulevard Raspail Paris . France www.fondation.cartier.com

Common Objects Lewis Baltz until Apr 20, 2014 Le Bal 6, Impasse de la Défense Paris . France www.le-bal.fr

Schöne Neue BRD? Autorenfotografie 1980er Aug 08 – Oct 05, 2014 Museum für Photographie Helmstedter Straße 1 Braunschweig . Germany www.photomuseum.de

Protographies Oscar Muñoz Jun 03 – Sep 21, 2014 Jeu de Paume 1, Place de la Concorde Paris . France www.jeudepaume.org

Certain Ideas.

Gianfranco Baruchello Jun 14 – Sep 28, 2014 Deichtorhallen Deichtorstraße 1-2 Hamburg . Germany www.deichtorhallen.de

Russia in Vogue Groupe Exhibition Apr 10 – Jun 30, 2014 MAMM Kuybysheva street, 92 Samara . Russia www.mamm-mdf.ru

New Nordic Photography 2014 Group Exhibition May 25 – Aug 17, 2014 Hasselblad Foundation Ekmansgatan 8 Gothenburg . Sweden www.hasselbladfoundation.org

A l’envers, à l’endroit Group Exhibition May 05 – Jul 13, 2014 CPIF 107, avenue de la République Pontault-Combault . France www.cpif.net

Melancholia Lu Kowski May 07 – Sep 14, 2014 Fotografiska Stadsgårdshamnen 22 Stockholm . Sweden www.fotografiska.eu

Book Reviews

Dreamlands / Wastelands Adam Rhiannon

Schweizer Bergleben um 1950 Peter Ammon

Being and Becoming Virgilio Ferreira

Decommissioned Scanderbeg Sauer

Dreamlands / Wastelands documents Rhiannon’s fascination with ‘Britishness’ and takes its title from T.S. Eliot’s The Waste Land, and Margate’s Dreamland amusement park.

Consisting of expired dreamlike Polaroid images which sit side by side but as two distinct yet interconnected projects. The pictures capture our collective experience of childhoods by the sea, avoiding contemporary references and hark back to a time when life was simpler.

The film’s expired imperfections echo the scars of time passing and memories transforming, blurring the boundaries between past and present, fiction and reality, and mirror the cracks and decay that permeate the walls of every British resort town.

Dreamlands / Wastelands grasps at the elusive essence of what being British means, told through the holidays of then and the holidays of now.

In the 1950s, Peter Ammon travelled through the mountain valleys of Switzerland in order to make a photographic record of the life and work of the mountain farmers. He was interested above all in the traditional businesses and ways of life that could still often be found in remote areas after the Second World War His photographs received hardly any recognition at the time, because people longed for progress and a modern lifestyle after many years of deprivation.

Today, Peter Ammon’s pictures bear witness to an almost forgotten world.

His photographs are also interesting from a technical viewpoint, as they were the first colour photographs of their time. He photographed people in their familiar surroundings, with the objects that shaped their lives. In some cases, they are snapshots of captivating freshness, while others are quiet portraits, in which the subjects become symbols of their way of life.

The Being and Becoming project is about emigration, in particular from Portugal to northern Europe.

I was interested on ideas of hybrid identity, by exploring concepts of the third space and the Old and the New, the polarity of living in-between cultures, languages and borderlines.

My aim was to explore photographically these complex intersections, by dealing with feelings and ideas of difference or strangeness, memory, identity and mobility. «In a sense, the photographs seen in Being and Becoming are more like a collection of proverbs that speaks to certain universal truths. Something is happening here that heralds a unity of opposites, a flux doctrine that ultimately points to the way things are the same and not the same over time. Now is then: what came before comes after.

Here is Virgílio Ferreira rallying at Heraclitus’ defence in 2014.»

Scanderbeg Sauer approached dis­ used and discarded machines in the Californian desert and captured their beat and battered beauty with delicate sensitivity. What once stood for dynamism, elegance, beauty and speed now lays askew, jacked up and split open in hot desert sand. Nevertheless, Scanderbeg Sauer manage to conjure up the resplendent past of these lifeless bodies in their aesthetically flawless images. Missing un­ dercarriages, engines and even completely missing wings cannot overshadow beauty. There is nothing left of dynamism here. Time has lost its relevance. Presenting the attractive side of industries and their products in their commissioned works, Scanderbeg Sauer now highlight the darker side of the global economy in Decommissioned. Discarded aeroplanes stand as a memorial to inflated air travel, limited oil deposits and an unappeased appetite for greater and cheaper travel.

ISBN 978-0-9570490-4-8

ISBN 978-3-033-00875-5

ISBN 978-98997699-4-6.

ISBN 978-3-033-02690-2

Hardcover,

200 pages

Hardback, 96 pages

40 pages

60 pages

Published 2006

44 b/w prints

Published 2010

Published May 2014

AURA Fotobuchverlag

Published 2014

«Breath» Tomohide Ikeya

Inside CERN Andri Pol

LC Foto Tim Benton

The Magic of photography Martin Zurmühle

Above all, though, there is a limit to the number of breaths you can take.

Among the many restrictions that exist in this world, this work focuses on “Breath,” the most essential factor. Breathing is indispensable to us; it repeats continually during our life, and we consider death to be the point at which breathing stops.

Usually, breath is invisible, and I think it never registers in our consciousness. By separating ourselves from this phenomenon, which is so close to our own lives, we can consider its essence and value. This occurs in the water. When we are covered in water, the fear inside of us comes to the surface. Beyond this, the condition of not being able to breathe reveals our attachment to life. I capture this entirely unpredictable scene of struggle.

For most people locations that hold a particular importance for the development of our society and for the advancement of science and technology often remain hidden from view.

They are separate and protected, such as CERN, the European Organization for Nuclear Research, close to the city of Geneva. CERN is best known for its giant particle accelerator. Here researchers from around the world take part in a diverse array of fundamental physical research, in the pursuit of knowledge that will perhaps one day revolutionize our understanding of the universe and life on our planet. The Swiss photographer Andri Pol mixed with this multicultural community of researchers and followed their work over an extended period of time. In doing so he created a unique portrait of this fascinating “underworld.”

In LC Foto: Le Corbusier Secret Photographer Tim Benton reflects on the famous architect’s use of photography, starting with the young CharlesEdouard Jeanneret’s attempts to take professional photographs during his travels in central Europe, the Balkans, Turkey, Greece, and Italy. While Le Corbusier always claimed that he saw no virtue in taking photographs, he actually bought three cameras and took several hundred photographs between 1907 and 1917, many of them of publishable quality.

In 1936 he acquired a 16mm movie camera and took 120 sequences of film and nearly 6,000 photographs with it. This previously unpublished material is the basis for the publication. It reveals Le Corbusier to be a sensitive and brilliant manipulator of a wide range of photographic styles.

The Magic of photography or the secret of outstanding photographs The visual language of contemporary photographers. The third volume of this successful series revolves around the question, how the visual language of photographs of outstanding contemporary photographers is distinguishable. This book is aimed at photographers, who are already experienced in photography and wish to know more about the visual language of contemporary photographers. The book focuses mainly on the really outstanding photographs of the art of photography. The aim of the book is not introduce the reader to the technical and structural features, but to make him understand, what the visual language of photographs really is. In addition to that, the reader should also get to know the personality of the photographers featured in the book.

ISBN 978-4-904-54106-7

ISBN 978-3-03778-275-0

ISBN 978-3-03778-344-3

ISBN 978-3-9523647-4-1

112 pages

432 pages

416 pages

216 pages

Published 2013

Published 2014

Published 2013

Published 2013

Lars Müller Publishers

Lars Müller Publishers

Deichtorhallen Hamburg Deichtorhallen Hamburg

Falckenberg Collection in Ham-

The House of Photography has

Watson,

is one of Europe’s largest exhibi-

burg-Harburg at the crossing

been built up around the F. C.

as Paul Graham and Sergey

young

artists

such

tion center for contemporary art

of Hamburg’s Art Mile to the

Gundlach Collection—an inter-

Bratkov have been given the

and photography. The two histo-

HafenCity.

nationally renowned collection in

opportunity to show their works

rical buildings dating from 1911-

House Of Photography

the fields of fashion and fine-art

in public. Big OEuvres of pho-

13 are eye-catchers with their

The House of Photogra-

photography. Here, you will also

tographers were processed by

open steel-andglass structures.

phy, which opened in 2005 in the

find the F. C. Gundlach Library,

the House of Photography for

It is an architecture that today

southern building of the Deichto-

which contains over 9,000 vo-

retrospectives including Martin

creates the backdrop for specta-

rhallen, has provided Hamburg

lumes, as well as a bookstore

Munkácsi, Lillian Bassman/Paul

cular major international shows.

with a venue exclusively dedi-

specializing in photography and

Himmel, Saul Leiter, Harry Calla-

Deichtorhallen

are

cated to exhibiting photography

the restaurant Fillet of Soul.

han and Guy Bourdin.

separated into three buildings:

of international significance. The

Since its foundation in

the »Hall for Contemporary Art«

House of Photography shows in-

2005 more than 60 large exhi-

(northern

Hamburg

the

ternational temporary exhibitions

bition projects were presented.

»House of Photography« (sou-

of photography—from historical

Besides extensive monographic

thern Deichtorhalle), and since

positions of the nineteenth and

exhibitions of famous artists

2011 those two buildings were

twentieth centuries to young

such as Martin Parr, Nobuyoshi

complemented with the branch

contemporary

Araki, Roger Ballen and Albert

HAUS DER PHOTOGRAPHIE

Deichtorstraße 1-2 20095 Hamburg . Germany

photographers.

©Henning Rogge

Deichtorhalle),

Tel. +49 (0)40 32103-0 Fax +49 (0)40 32103-230 mail@deichtorhallen.de

Tuesday – Sunday 11 – 18

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Impressum

Publisher – Editor Marcel Boner Writers Nancy Brokaw Francesca Wilkins Concept Marcel Boner Ramón López Joachim Richter Visual Concept Ramón López Photographers Edward Burtynsky www.edwardburtynsky.com www.burtynsky-water.com Olivier Lovey www.olivierlovey.ch Danny Ma www.alpa.ch Meinrad Schade www.meinradschade.ch Tomohide Ikeya www.tomohide-ikeya.com Proofreading Rebecca Lim Print Warlich Druck Meckenheim GmbH Am Hambuch 5 53340 Meckenheim Contact Fotoii Association Place de la Gare 3 PO Box 420 1800 Vevey . Switzerland mag@fotoii.com ISSN 2296-7141

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