Publisher Stichting Aurora Borealis, under the auspices of the Noorderlicht Photography Foundation
Distribution Idea Books, Amsterdam T +31 (0)20 622 61 54
Stichting Fotografie Noorderlicht Stichting Aurora Borealis Akerkhof 12 9711 JB Groningen The Netherlands T +31 (0)50 318 22 27 email@example.com www.noorderlicht.com
Curator and editor | Wim Melis Assisting digital editor | Arnoud Bakker Design | Dirk de Jong, Studio-D2 vormgeving Text | Auke Hulst Text edit | Bert Platzer Translations and edit | Donald Mader, Words & Pictures Photo cover | Toni Hafkenscheid Photo back | Claire Dorn Photo page 8 | Sonja Braas Photo page 11 | Jamie Maxtone-Graham Photo page 12 | Stuart Franklin Photo page 284 | Hongxun Gao Photo page 286 | Robert Walker Lithography | Noorderlicht Printing | Drukkerij Tienkamp, Groningen Binding | Boekbinderij F. Erenstein, Groningen
Nothing in this book may be reproduced without prior written permission from the publisher. 2
c ura t e d b y w i m m e l i s th e e n c h a n t e d f o re s t safe haven i n sp i r a t i o n i n t o t h e u n k n o wn the urban jungle u n t a me d guest curator alfred dong the harmony between man and heaven experimental landscape from china
The copyright for all written contributions to this book resides with the respective authors. The copyright for all photographs in this book resides with the respective photographers, with the following courtesies:
Jane Fulton Alt | Corden Potts Gallery (United States) Sonja Braas | ftc. Berlin (Germany) Alejandro Chaskielberg | Michael Hoppen Gallery (United Kingdom) Dornith Doherty | Holly Johnson Gallery, McMurtrey Gallery (United States) Claire Dorn | SHAG (France) Bela Doka | Faur Zsofi Gallery (Hungary) Rena Effendi | INSTITUTE (United States) Michael Flomen | Ricco Maresca Gallery (United States) Peter Funch | V1 Gallery (Denmark) Henrik Isaksson Garnell | Swedish Photography (Germany) Eric Jan van de Geer | Galerie Zic Zerp (The Netherlands) Toni Hafkenscheid | Birch Libralato Gallery (Canada) Sharon Harper | Gallery Stefan Roepke (Germany), Rick Wester Fine Art (United States) Paul den Hollander | Kahmann Gallery (The Netherlands) Scarlett Hooft Graafland | Vous Etes Ici Galerie (The Netherlands) Sabine Haubitz and Stefanie Zoche | Nusser & Baumgart (Germany) Carlos Irijalba | Gallery Sherin Najjar (Germany) Kahn & Selesnick | Aeroplastics Contemporary (Belgium) Gábor Kerekes | Nessim Gallery (Hungary) Samnang Khvay | Sa Sa Bassac Gallery (Cambodia) Knibbeler/Wetzer | LhGWR (The Netherlands) Hiroyuki Masuyama | Sfeir – Semler Gallery (Germany, Lebanon) Paula McCartney | Klompching Gallery (United States) Wawi Navarroza | Silverlens Gallery (Philippines) Catherine Nelson | Galerie Paris-Beijing (France, China) Loan Nguyen | Gallery Esther Woerdehoff (France) Meike Nixdorf | Jen Bekman Projects (United States) Katsumi Omori | Galerie Wouter van Leeuwen (The Netherlands) Polixeni Papapetrou | Artitled (the Netherlands), Jenkins Johnson Gallery (USA), Stills Gallery, Nellie Castan Gallery (Australia) Zhao Renhui | The Land Archive (Singapore) Misha de Ridder | Galerie Juliètte Jongma (The Netherlands) Gerco de Ruijter | Galerie Zic Zerp, (The Netherlands) Susannah Sayler & Edward Morris | The Canary Project (United States) Andy Sewell | James Hyman Gallery (United Kingdom) Anastasia Taylor-Lind | VII Photo (France) Kurt Tong | Jen Bekman Gallery (United States), The Photographers Gallery (United Kingdom), Blindspot Gallery (Hong Kong) Stephanie Valentin | Stills Gallery (Australia) Benoît Vollmer | Van Kranendonk Gallery (NL), Galerie Paul Freches (France), East Wing Contemporary (United Arab Emirates) Robert Walker | Ivorypress (Spain) Marcel Wesdorp | Zic Zerp Galerie (The Netherlands) Thomas Wrede | Beck & Eggeling, Wagner + Partner (Germany) 4
the enchanted forest
018 Jane Fulton Alt
080 Britta Isenrath
020 Kim Boske
082 Kalpesh Lathigra
022 JG Bryce
084 Lola Reboud
024 Patricia van de Camp
086 Misha de Ridder
026 Ellie Davies
088 Simon Roberts
028 David Farrell
090 Matthieu Rytz
030 Doug Fogelson
092 Susannah Sayler & Edward Morris
032 Julia Fullerton-Batten
034 Andrej Glusgold
096 Goos van der Veen
036 Samuel Hense
098 Marco Vernaschi
038 Sana Khan 040 Paula McCartney
042 Simon Menner
102 Yasser Aggour
044 Polixeni Papapetrou
104 Paul Bogaers
046 Rattana Vandy
106 Juan Calle
048 Nick Rochowski
108 Claire Dorn
050 Gregor Schuster
110 Peter Funch
052 Peter Solness
112 Toni Hafkenscheid
054 Agnes Thor
114 Carlos Irijalba
056 Tessa Verder
116 Scarlett Hooft Graafland
058 BenoĂŽt Vollmer
118 Samnang Khvay 120 Hiroyuki Masuyama
122 Michael Najjar
062 Korrie Besems
124 Aislinn Leggett
064 Sasha Bezzubov
126 Wawi Navarroza
066 Jon Cazenave
128 Loan Nguyen
068 Venetia Dearden
130 Meike Nixdorf
070 Bela Doka
132 Renhui Zhao
072 Rena Effendi
134 Gerco de Ruijter
074 Stuart Franklin
136 Takeshi Shikama
076 David Galjaard
138 Robert Walker
078 John Brinton Hogan
140 Thomas Wrede 5
into the unknown
202 Christophe Maout
144 Myrto Apostolidou
204 Jamie Maxtone-Graham
146 Justine Blau
206 Ardine Nelson
148 Anita Cruz-Eberhard
208 Yan Preston
150 Alison Carey
210 Irina Rozovsky
152 Margherita Cesaretti
212 Traer Scott
154 Christopher Colville
214 Andy Sewell
156 Henrik Isaksson Garnell
216 Anastasia Taylor-Lind
158 Michael Flomen
218 Kurt Tong
160 Sharon Harper
220 Graeme Williams
162 Paul den Hollander 164 Kahn & Selesnick
166 Dornith Doherty
224 Sonja Braas
168 Gรกbor Kerekes
226 Alejandro Chaskielberg
170 Peeter Laurits
228 Sumit Dayal
172 Sergey Lutsenko
230 James Whitlow Delano
174 Judy Natal
232 Nigel Dickinson
176 Catherine Nelson
234 Wyatt Gallery
178 Edi Szekely
236 Michel Huneault
180 Stephanie Valentin
238 Massimo Mastrorillo
182 Marcel Wesdorp
240 Katsumi Omori 242 Miti Ruangkritya
the urban jungle
186 Karin Borghouts
244 Protick Sarker 246 S. Gayle Stevens
188 Ignasi Cunill
190 Erwan Fichou
192 Eric Jan van de Geer
250 Chaosheng Lu
194 Kate Greene
252 Hongxun Gao
196 Jonathan Groeneweg
254 Peiquan Wang
198 Sabine Haubitz & Stefanie Zoche
256 Weixin Fu
258 Weixing Zhang
terra cognita Every so often I dream about the woods: the mists which hang from the canopy of foliage like angel hair, the summer sun filtering through the leaves, the humus underfoot that sparkles like water. I dream of snow being piled up by the wind and the barren, black tree trunks that struggle to free themselves from the drifts – a world in black and white. Time freezes, and the cacophony of everyday life recedes beyond the horizon. Peace. Real nature - so goes the often-heard complaint – hardly exists any more, and certainly not in the developed First World. The wilderness has been eradicated or tamed, paved over or ploughed under. There were sound reasons for doing that. It reduced the uncertainties of life, the chances of deadly diseases, hunger and natural disasters. The threats that in part defined our perception of nature for long millennia made way for romantic concepts that are their opposites. Particularly during the last two centuries nature has been reshaped to man’s intents and purposes: from the public parks of the 19th century to the geometric gardens in new bedroom communities, from the nature reserves ordained by planning committees to the dead-straight boundaries of fields and watercourses, the rural landscape after land consolidation. That landscape is the reflection of our practical and aesthetic preferences, a projection of our needs and ideals.
I grew up in a relative wilderness: a tumble-down house in a small woods in Groningen where
natural growth was being permitted to take its course. It was a childhood under circumstances which were a blessing and a curse at one and the same time. My body became programmed to shape itself to fit through the openings in the undergrowth, and almost instinctively I jumped over dry ditches and avoided whipping branches as a boxer weaves to dodge the punches of his opponent. I have lived in the city for years now, but I am always aware that something is missing in my experience. It is an exaggerated form of the phantom pain that I think we all know well.
In an evolutionary perspective, people have been living in cities for only a blink of an eye.
In any case, our brains have still not fully adapted themselves. When life around us is developing at a breakneck speed, with all the feelings of unease, impotence and disorientation that go with that, we seek support in the familiar. Nature – and, for simplicity’s sake, by that I mean any organic environment, from a primaeval forest to a back garden – continues to attract us. That is more than nostalgia and a penchant for reassurance: it is wisdom. Nature has a demonstrably beneficial effect on our wellbeing. Green is the most restful colour (operating rooms are painted green). Patients recover faster if they are in leafy environments. Surrounded by living plants, people enter a state of contemplation that decreases the stress activity in the nervous system and restores balance in the brain. The price of real estate rises if it affords a view of woods, water, or meadows. It is a remarkable fact that according to neuro-researchers contact with nature stimulates the right half of the brain, where creativity resides. For centuries now, nature, ‘wild’ or stylized, has been a source of inspiration for artists: natura artis magistra.
Moreover, Mother Nature (a fitting appellation!) represents a number of basic values. Although
Darwin described the biological world in terms of war and conflict (and not without reason), this world could equally well be a model for cooperation and community. Nothing in an ecosystem exists by itself, 7
and everything functions as a coherent whole. Nature gives us food and oxygen. Although we have domesticated her, shaped her, and to some extent have driven her out of our lives, we are in no way less a part of, and owe no less debt to Nature. If we would understand ourselves better, that can only be done by including our relationship with the natural world in our search for self-knowledge. Artists, such as the photographers in Terra Cognita, play an important role in that.
How we see and experience nature tells us a lot about our identity, our culture. Nature bears
our face, certainly in art. In earlier times it was the domain of irascible gods who could be unpredictable, vengeful and destructive. In the 19th century, when nature had lost its sharp edges in Europe, romantics described the mystical and sublime in nature, an aspect that a painter like Caspar David Friedrich expressed in his metaphysical canvases. Since then, for many of us – and in any case, certainly for me – God has disappeared from the landscape. What remains is an experience that is both prosaic and transcendent. Nature helps free me from the workaday, the flat, the material. In the meantime I can also simply eat my sandwich undisturbed. Terra Cognita is about the experience of nature in all her manifestations, from the tangible, living and breathing landscape, to its dreamed and fantastic incarnations, the nature of our thoughts. Although man sometimes seems to be marginally present in these photos, if at all, he has unmistakeably left his mark: sometimes in the form of direct interventions in the landscape, but always with interventions in the image. Nature is not in majestic isolation in these photos, but betrays the individual character and emotions that their maker, consciously or not, has projected on it. After the theme of this years festival was made public, Noorderlicht received an avalanche of entries. It showed the theme was even more timely than expected. Is there due to the eroding economic and politic order, but also due to the poor economic prospects within the field of photography a hankering for roots and for security?
It is striking, but not illogical, that compared with previous Noorderlicht exhibitions, this show
counts more Western photographers than usual. The nostalgia for a vanished nature and the creation of our own personal ideal image of landscape are a symptom of a society that has reached a state of extreme development and urbanization. More surprising is the prominent role of female photographers – they represent over a third of the selected works.
It is work that looks back, in references to classic painting, but also in a conscious attempt
to obscure human influence on the world. It is also work that looks ahead, to a world that does not yet exist (and possibly will never exist), from which man has practically disappeared. The technique reflects these divergent visions: from straight photography to manipulated imagery, from archaic photographic procedures and timeless black and white to digitally enhanced or even entirely computer generated work that de facto can not longer be called photography. In this exhibition the melting together of genres, a recurrent aspect of Noorderlicht, is total. Work that has wrested itself free from time, into an eternal here and now, hangs next to work which, through its narrative power, very strongly suggests a prequel and sequel. Terra Cognita shows how different approaches co-exist and influence each other; no divisions between genres or artificial barriers between modern and old, but a seamless artistic continuum.
More than all else, the curator Wim Melis wanted to assemble an exhibition in which separate chapters and individual images enter into a dialogue with one another. From these connections between the images – connections which transcend the classic linear forms of exhibition – a larger and richer statement about our relation with nature arises. Terra Cognita shows the strength and relevance inherent to the medium of photography.
Once upon a time there was a forest... That is where the journey begins: in an archetypal
landscape in which threat and uncertainty still rule. It is a forest of images that is difficult to negotiate – sometimes sinister, often romantic, always provocative. The images refer to the rich catalogue of myths, symbols and stories that have anchored themselves in our collective consciousness, but equally to the world of dreams and nightmares. The forest is nature that conceals – the boscage closes, sometimes opening to let in a shaft of light and create shadows, or affording a brief glimpse through. The analogy with the photo printing process is obvious: what is let through and what is withheld determines what we see. It is a relatively wild world of sparse light amidst overwhelming darkness.
Further along one comes to an open field. One’s gaze ranges further, the hand of man becomes
visible in the traces that he has left on the world. Linear stories spin out within the cyclic stories of seasons, of birth, death and rebirth: stories of individual human lives, of interventions in the landscape, of loves that flower. These stories leave behind an afterimage, scars, tattoos. We see with increased sharpness how man lives together with nature, forcibly shapes it, but also embraces it. Here man finds a place in nature, arrives at rest there.
As the hand of man becomes increasingly evident in the landscape, the presence of the
photographer also becomes increasingly compelling in the work. From documentary work and reportage we arrive at very personal images in which nature is manipulated to express a creative vision: mountains that follow the fluctuations of the stock market, work that reaches back to the language of painting, work that makes the invisible sublimity of nature visible.
The long journey through and around the main location of Museum Belvédère – there are still
other chapters to be seen in ancillary locations – finally reaches a landscape that originates totally in the mind. Nature, to whose mercy man was once entirely given over, seems to be manipulable down to the last pixel. The photographer, chronicler of the moment, proves to be able to create memories of moments which never existed. We see and experience exotic, extraterrestrial worlds about which we can fantasize. Shaking off the world that we know, we tumble over the edge of space and time. But this contact with this entirely artificial nature is also an experience that deepens and enriches our confrontation with ourselves. It is a thought that is at once melancholy and hopeful: if all nature disappears, we can continue to seek contact with nature in a virtual domain. Perhaps we will even encounter again something of those anxieties that were part and parcel of the wilderness of long, long ago.
The farther away that I have moved from the woods of my childhood, the more mythic that
woods has become. I realize that it was never exactly like I remember it. In that way my memory is like the landscape in these photographs, which simultaneously touches on, distorts and transcends reality.
terra cognita Om de zoveel tijd droom ik van het bos: de nevelen die zich als engelenhaar om het loof draperen, de zomerzon, gefilterd door de bladeren, de stoffige bodem die fonkelt als water. Ik droom van sneeuw die tot stuifduinen is opgeklopt en de kale, zwarte stammen die zich eraan ontworstelen – een wereld in zwart-wit. De tijd bevriest en de kakofonie van alledag trekt zich terug achter de horizon. Rust. Echte natuur, zo luidt een veelgehoorde klacht, bestaat nauwelijks nog, zeker niet in het ontwikkelde Westen. De wildernis is uitgeroeid of geknecht, geasfalteerd of gecultiveerd. Dat gebeurde met gegronde redenen: het terugdringen van onzekerheid, van dodelijke ziekten, honger en natuurgeweld. De dreiging die gedurende millennia (mede) onze perceptie van de natuur heeft bepaald, heeft plaats kunnen maken voor romantische ideeën die daar haaks op staan. Vooral in de laatste tweehonderd jaar is de natuur naar eigen inzicht en voor eigen doeleinden hervormd: van de volksparken van de negentiende eeuw tot geometrische plantsoenen in Vinex-wijken, van door bestemmingsplannen verordonneerde natuurgebieden tot de rechte lijnen van akkers en watergangen: het land na de ruilverkaveling. Dát landschap is de weerslag van onze praktische en esthetische voorkeuren, een projectie van behoeftes en idealen.
Ik ben opgegroeid in een relatieve wildernis: een vervallen huis in een klein, Gronings bos dat
werd toegestaan naar believen te woekeren. Het was een jeugd onder omstandigheden die tegelijk een voorrecht en een vloek waren. Mijn lichaam werd er geprogrammeerd zich te vormen naar de doorgangen en bijna instinctief sprong ik over drooggevallen slootjes of ontweek ik zwiepende takken zoals boksers stoten van de tegenstander. Inmiddels leef ik al jaren in de stad, maar ik ben me er altijd van bewust dat er iets ontbreekt. Het is een uitvergrote vorm van de fantoompijn die we denk ik allemaal wel kennen.
In evolutionaire zin leven mensen nog maar een oogwenk in een stedelijke realiteit. Het brein
heeft zich er in elk geval nog niet volledig op aangepast. Terwijl het leven om ons heen zich in razend tempo ontwikkelt, met alle daarbij behorende gevoelens van onbehagen, onmacht en desoriëntatie, zoeken we naar houvast in het vertrouwde. Natuur – en laat ik daar voor het gemak élke organische omgeving, van oerwoud tot achtertuin, mee bedoelen – blijft aan ons trekken. Dat is meer dan weemoed en een hang naar geruststelling: het is wijsheid. Natuur heeft een aantoonbaar gunstig effect op ons welzijn. Groen is de meest rustgevende kleur (operatiekamers zijn groen). Patiënten herstellen sneller als ze zich in een lommerrijke omgeving bevinden. Omringd door begroeiing komen mensen in een contemplatieve staat die stressactiviteit in het zenuwstelsel vermindert en de balans in het brein herstelt. De prijs van onroerend goed stijgt zodra er zicht is op bossen, water, heide. Frappant: volgens hersenonderzoekers stimuleert contact met natuur de rechter hersenhelft, waar creativiteit huist. Natuur, ‘wild’ of gestileerd, is al eeuwen een inspiratiebron voor kunstenaars: natura artis magistra.
Moeder Natuur, een veelzeggende benaming, is bovendien drager van een aantal kernwaarden. Hoewel Darwin de biologische wereld, niet ten onrechte, beschreef in termen van oorlog en strijd, is die wereld evengoed een model voor samenwerking en gemeenschap. In een ecosysteem bestaat niets op zichzelf en functioneert alles in samenhang. De natuur schenkt ons voedsel en zuurstof. Al temmen we haar, vormen we haar en hebben we haar deels uit ons leven verdreven, we zijn onverminderd deel van en schatplichtig aan de natuur. Als we onszelf beter willen begrijpen, dan kan dat slechts door onze verhouding tot de natuurlijke wereld in het vraagstuk te betrekken. Daarin hebben kunstenaars, zoals de fotografen in Terra Cognita, een belangrijke rol te spelen.
Hoe we de natuur zien en ervaren, vertelt iets over onze identiteit, onze cultuur. De natuur
draagt óns gezicht, zeker in kunst. In vroeger tijden was ze het domein van gramstorige goden die onvoorspelbaar, wraakzuchtig en destructief konden zijn. In de negentiende eeuw, toen in Europa de natuur haar scherpe randjes had verloren, ontwaarden romantici het mystieke en sublieme in de natuur, een aspect dat een schilder als Caspar David Friedrich in sprookjesachtige doeken uitbeende. Inmiddels is voor velen van ons – voor mij in elk geval wel – God uit het landschap verdwenen. Wat rest is een ervaring die zowel prozaïsch als transcendent is. De natuur helpt me los te komen van het dagelijkse, het platte, het materiële. Ondertussen kan ik er ook gewoon rustig mijn broodje eten. Terra Cognita gaat over het ervaren van natuur, in al haar verschijningsvormen. Van het tastbare, ademende en levende landschap, tot haar gedroomde en fantastische incarnaties – de natuur in onze gedachten. Hoewel de mens soms nauwelijks aanwezig lijkt in deze foto’s, drukt hij er onmiskenbaar zijn stempel op: soms met directe ingrepen in het landschap, maar altijd met ingrepen in het beeld. De natuur staat in deze foto’s niet op zichzelf, maar verraadt het individuele karakter en de emoties die de maker er, al dan niet bewust, op heeft geprojecteerd.
Na de bekendmaking van het thema werd Noorderlicht overspoeld door inzendingen.
Het thema bleek nóg actueler dan verwacht. Is er met het eroderen van de economische en politieke orde, maar ook met de bedroevende economische vooruitzichten voor het vak van fotograaf een verlangen naar worteling, naar zekerheid?
Het is opvallend, maar niet onlogisch, dat deze tentoonstelling naar verhouding meer
westerse fotografen telt dan voor Noorderlicht gebruikelijk is. De weemoed naar (een verdwenen) natuur en het eigenhandig creëren van een ideaalbeeld van landschap horen bij een samenleving die vergaand is verstedelijkt en ontwikkeld. Verrassender is de prominente rol van vrouwelijke fotografen – zij vertegenwoordigen ruim een derde van het geselecteerde werk.
Het is werk dat achteruit kijkt, in referenties aan klassieke schilderkunst, maar ook in
een bewuste poging de menselijke invloed op de wereld te verdoezelen. En het is werk dat vooruit kijkt, naar een wereld die nog niet bestaat (en mogelijk ook nooit zal bestaan) en waaruit de mens daadwerkelijk is verdwenen. De techniek reflecteert die uiteenlopende visies; van straight photography tot beeldmanipulaties, van archaïsche procédés en tijdloos zwart-wit tot digitaal nabewerkt of zelf helemaal in de computer gegenereerd werk dat de facto niet langer fotografie kan worden genoemd. De versmelting van genres, een terugkerend aspect van Noorderlicht, is in deze tentoonstelling totaal. Werk dat zich ontworstelt aan de tijd, een eeuwigdurend hier en nu, staat naast werk dat door zijn 14
verhalende kracht juist zeer sterk een hiervoor en hierna suggereert. Terra Cognita laat zien hoe alles naast elkaar bestaat en op elkaar inwerkt. Geen genrescheidingen, geen kunstmatige barrières tussen modern en oud, maar een naadloos artistiek continuüm. Bovenal heeft curator Wim Melis een tentoonstelling willen samenstellen waarin de afzonderlijke hoofdstukken en individuele beelden met elkaar in gesprek gaan. In de dwarsverbanden tussen de beelden – dwarsverbanden die klassieke lineaire tentoonstellingsvormen overstijgen – ontstaat een groter en rijker verhaal over onze relatie met de natuur. Terra Cognita toont de kracht en relevantie van het medium fotografie.
Er was eens een bos... Daar begint de reis: in een archetypisch landschap waarin nog
dreiging en onzekerheid heerst. Het is een moeilijk begaanbaar woud van beelden – soms sinister, vaak romantisch, altijd prikkelend. De beelden refereren aan de rijke catalogus aan mythen, symbolen en verhalen die zich in het collectieve bewustzijn hebben verankerd, maar ook aan de wereld van dromen en nachtmerries. Het woud is natuur die verhult – de rijen sluiten zich, bieden soms een doorkijkje, laten licht door, creëren schaduwen. De analogie met het afdrukproces ligt voor de hand: wat wordt doorgelaten en wordt weggenomen bepaalt wat we zien. Het is een relatief wilde wereld van spaarzaam licht in overwegend donker.
Verderop ligt het open veld. De blik reikt verder, de mens wordt zichtbaar in de sporen die
hij op de wereld heeft nagelaten. Binnen het cyclische verhaal van seizoenen, van geboorte, dood en wedergeboorte, ontspinnen zich lineaire verhalen: die van individuele mensenlevens, van ingrepen in het landschap, van liefdes die tot bloei komen. Die verhalen laten een nabeeld achter, littekens, tatoeages. Steeds scherper zien we hoe de mens samenleeft met de natuur, haar in een vorm dwingt, maar ook omarmt. De mens vindt hier een plek in natuur. Komt er tot rust.
Zoals de hand van de mens steeds evidenter wordt in het landschap, zo is de fotograaf
zelf steeds dwingender aanwezig in het werk. Van documentair en registrerend, komen we bij zeer persoonlijk beeld waarin de natuur is gemanipuleerd om een creatieve visie tot uiting te brengen. Bergen die de grilligheid van de beurskoersen volgen. Werk dat teruggrijpt op de taal van de schilderkunst. Werk dat het onzichtbare, sublieme in de natuur zichtbaar maakt.
De lange tocht door en rond hoofdlocatie Museum Belvédère – in nevenlocaties zijn nog
andere hoofdstukken te zien – mondt uit in landschap dat volledig aan gedachten is ontsproten. De natuur, waaraan de mens ooit met huid en haar was overgeleverd, blijkt tot de laatste pixel maakbaar te zijn. De fotograaf, chroniqueur van het moment, blijkt in staat herinneringen te creëren aan momenten die nooit hebben bestaan. We zien en ervaren exotische, buitenaardse werelden waarover we slechts kunnen fantaseren. Loskomend van de wereld die we kennen, tuimelen we over de rand van ruimte en tijd. Maar ook het contact met die volkomen artificiële natuur is een ervaring die verdiept, verrijkt en ons confronteert met onszelf. Een tegelijk treurige en hoopgevende gedachte: als alle natuur is verdwenen, zullen we in het virtuele domein het contact met natuur kunnen blijven opzoeken. En misschien zelfs iets terugvinden van de angsten die hoorden bij de wildernis van lang, lang geleden.
Hoe verder ik van het bos van mijn jeugd verwijderd ben geraakt, hoe mythischer dat bos is
geworden. Ik besef dat het nooit exact heeft bestaan zoals ik het me herinner. Zo lijkt mijn herinnering op het landschap in deze foto’s, die tegelijk de werkelijkheid aanraken, vertekenen en overstijgen.
auke hulst 15
the enchanted forest
18 Jane Fulton Alt | The Burn 20 Kim Boske | I Go Walking In Your Landscape 22 JG Bryce | Sacred Forests and Jungles 24 Patricia van de Camp | My Own Wilderness 26 Ellie Davies | Come With Me 28 David Farrell | The Long Grass 30 Doug Fogelson | Exit Eden 32 Julia Fullerton-Batten | Teenage Stories 34 Andrej Glusgold | Black Forest 36 Samuel Hense | Petits & Grand 38 Sana Khan | Tree Series 40 Paula McCartney | Bird Watching 42 Simon Menner | Camouflage 44 Polixeni Papapetrou | Haunted Country 46 Rattana Vandy | Bomb Ponds 48 Nick Rochowski | Liminal Points 50 Gregor Schuster | Blackwood 52 Peter Solness | Illuminated Landscape 54 Agnes Thor | Untitled 56 Tessa Verder | The Day The World Whispered 58 BenoĂŽt Vollmer | DĂŠpositions 16
Mysterious, unfathomable and timeless. We lose ourselves in the overgrowth, wandering in a world which by turns is serene and sinister. Here man is only a nonentity, out of his element. This is a primeval landscape that appeals to primeval instincts. Mysterieus, ondoordringbaar en tijdloos. We gaan op in de begroeiing; zwervend door een wereld die afwisselend sereen en sinister is. Hier is de mens slechts figurant en ogenschijnlijk verdwaald. Een oerlandschap dat appelleert aan oerinstincten. 17
safe haven Narrations about nature that should be a safe place to connect to.
62 Korrie Besems | Dutch Mountains 64 Sasha Bezzubov | Albedo Zone 66 Jon Cazenave | Amalur 68 Venetia Dearden | Eight Days 70 Bela Doka | The Sundays of Life 72 Rena Effendi | Liquid Land 74 Stuart Franklin | Narcissus 76 David Galjaard | Concresco 78 John Brinton Hogan | Vacation 80 Britta Isenrath | Parts per Million 82 Kalpesh Lathigra | Lost in the Wilderniss 84 Lola Reboud | The Ephemeris 86 Misha de Ridder | Dune 88 Simon Roberts | We English 90 Matthieu Rytz | Patchamama 92 Susannah Sayler & Edward Morris | History of the Future 94 TAXI (Suman Samaipati & Sourav Roy Chowdhury) |
Being There & Then
96 Goos van der Veen | The Skiable Landscape 98 Marco Vernaschi | Biophilia 60
Man and nature as an apparently harmonious dyad. The landscape is open and safe, in part designed by man, who in turn seeks rest and recreation there. This is landscape as a museum, a playground, a canvas on which we paint the intimate stories of our lives - although that landscape can also sometimes hide a tainted past. De mens en de natuur als ogenschijnlijk harmonieuze twee-eenheid. Een open en veilig landschap, deels vormgegeven door mensen, die er recreĂŤren en tot rust komen. Het landschap als museum, speeltuin en als canvas waarop we de intieme verhalen van onze levens schilderen, ook al verbergt dat landschap soms een besmet verleden. 61
inspiration Nature as a source of inspiration, for artists that manipulate either theirwork or nature itself
102 Yasser Aggour | The Hunted 104 Paul Bogaers | Les Vacances de M. Rorschach 106 Juan Calle | Cartographies of Violence 108 Claire Dorn | Colorfield 110 Peter Funch | Triptychs 112 Toni Hafkenscheid | Confabulation 114 Carlos Irijalba | Inercia 116 Scarlett Hooft Graafland | Soft Horizons 118 Samnang Khvay | Untitled 120 Hiroyuki Masuyama | The Lost Works of Casper David Friedrich 122 Michael Najjar | High Altitude 124 Aislinn Leggett | Enter the Great Wide Open 126 Wavi Navarroza | Dominion 128 Loan Nguyen | Météo et Phénomènes Naturels 130 Meike Nixdorf | In the Orbit of El Teide 132 Zhao Renhui | As We Walked on Water 134 Gerco de Ruijter | Baumschule / Almost Nature 136 Takeshi Shikama | Silent Respiration of Forests 138 Robert Walker | Color-Fields 140 Thomas Wrede | Real Landscapes 100
Nature: the source of inspiration for the artist, who manipulates the image, nature itself, or both. Here we see a diverse selection of work from photographers who stretch the creative and evocative possibilities of landscape art to the limits. De natuur als inspiratiebron voor kunstenaars die het beeld, de natuur of zelfs beide manipuleren. Een diverse selectie werk van fotografen die de creatieve en suggestieve mogelijkheden van de landschapskunst tot het uiterste hebben opgerekt. 101
into the unknown The invisible world, from macro to fictional and extraterrestrial
144 Myrto Apostolidou | Gong 146 Justine Blau | Cumanan Cactus 148 Anita Cruz-Eberhard | Digital Ikebanas 150 Alison Carey | New Kingdoms 152 Margherita Cesaretti | Erbario 154 Christopher Colville | Nothing is the Rule 156 Henrik Isaksson Garnell | Unplugged 2.0 158 Michael Flomen | Hope 160 Sharon Harper | One Month, Weather Permitting, Sun/Moon 162 Paul den Hollander | Luminous Garden 164 Kahn & Selesnick | Apollo Prophecies 166 Dornith Doherty | Archiving Eden 168 GĂĄbor Kerekes | Over Roswell 170 Peeter Laurits | Atlas of Heavens 172 Sergey Lutsenko | The Dark Side of the Moon 174 Judy Natal | Future Perfect 176 Catherine Nelson | Nuit Americaine, Other Worlds, Danube 178 Edi Szekely | White Noise 180 Stephanie Valentin | earthbound 182 Marcel Wesdorp | I Wish I Couldnâ€™t Lie / Out of Nothing 142
Unseen nature made visible. From the microscopic to the extraterrestrial, we are fascinated with what lies beyond our familiar world. We travel through space and time, through dreams and narratives, on the borders of fact and fiction. De ongeziene natuur zichtbaar gemaakt. Van het microscopische tot het buitenaardse, we zijn gefascineerd door wat voorbij de bekende wereld ligt. Een reis door ruimte en tijd, door dromen en verhalen, op het grensvlak van feit en fictie. 143
the urban jungle About how men, after moving to the city in search of prosperity, takes nature with him
Karin Borghouts | Through the Looking Glass
Ignasi Cunill | Urban Landscapes
Erwan Fichou | Miradors
Eric Jan van de Geer | Private Landscape II
Kate Greene | Anomalous Phenomena
Jonathan Groeneweg | The Nature of Urbanity
Sabine Haubitz & Stefanie Zoche | Tropical Island
200 Knibbeler/Wetzer | Typologie
Christophe Maout | Printemps
Jamie Maxtone-Graham | The Desiring Garden
Ardine Nelson | Green Spaces
Yan Preston | Forest
Irina Rozovsky | In Plain Air
Traer Scott | Natural History
Andy Sewell | The Heath
Anastasia Taylor-Lind | Gaza Zoos
Kurt Tong | Memories, Dreams; Interrupted
Graeme Williams | Objects of Reminiscence
Enclaves of green make the urban environment more liveable. From garden plots to parks, from growing your own food to a single house plant, we draw the landscape into the city. Artificial or not, it appeals to a deep desire. Groene enclaves maken de stedelijke omgeving leefbaarder. Van tuintjes tot parken, van een eigen voedselvoorziening tot een enkele kamerplant, we trekken het landschap de stad binnen. Kunstmatig of niet, het appelleert aan een diep verlangen. 185
untamed Menâ€™s attempts of cultivating nature can be dwarfed by the raw power of natural disasters
224 Sonja Braas | The Quiet of Dissolution 226 Alejandro Chaskielberg | Turkana 228 Sumit Dayal | Vanishing Islands 230 James Whitlow Delano | Living with Volcanos:
Giving Life and Taking it
232 Nigel Dickinson | French Forests after the Storm 234 Wyatt Gallery | Tent Life, HaĂŻti 236 Michel Huneault | Water Memories 238 Massimo Mastrorillo | Temporary? Landscape 240 Katsumi Omori | Everything Happens for the First Time 242 Miti Ruangkritya | Imagining Flood 244 Protick Sarker | Of River and Lost Lands 246 S. Gayle Stevens | Pass 222
Man has tamed nature and cultivated it according to his own insights, but the total domination of nature remains an illusion. Hurricanes, tsunamis, forest fires and earthquakes remind us of that. Although nature lets itself be moulded, it is capable of unleashing forces against which manâ€™s strength pales. De mens heeft de natuur getemd en naar eigen inzicht gecultiveerd. Maar haar volledig domineren blijft een illusie. Dat bewijzen orkanen, tsunamiâ€™s, bosbranden en aardbevingen. Al laat ze zich door de mens kneden, de natuur is tot krachten in staat waarbij de mens verbleekt. 223
appendix The Harmony Between Man and Heaven Experimental Landscape from China Guest curator Alfred Dong shows a selection of experimental landscapes by artists from China, the land of his birth. Gastcurator Alfred Dong toont een selectie experimentele landschappen van kunstenaars uit zijn geboorteland China.
250 Chaosheng Lu | The Lost Way 252 Hongxun Gao | Looking On 254 Peiquan Wang | Artificial Beauty 256 Weixing Fu | In the Name of Mountain and River 258 Weixing Zhang | The Mausoleum of the Song Dynasty 248
Landscape photography is deeply influenced by Chinaâ€™s traditional landscape art, with its iconic compositions and emphasis on the harmony between man and nature. In contrast, in the experimental photography that curator Alfred Dong has assembled it is precisely the difficult marriage between tradition and modernity, and feelings of loss and confusion, that are central. De Chinese landschapsfotografie is sterk beĂŻnvloed door de traditionele landschapskunst, met haar iconische composities en nadruk op de harmonie tussen mens en natuur. In de experimentele fotografie die curator Alfred Dong samenbracht staan juist het moeizame huwelijk tussen traditie en moderniteit, en gevoelens van verlies en verwarring centraal. 249
the enchanted forest 018 Jane Fulton Alt The Burn | 2008-2012
024 Patricia van de Camp My Own Wilderness | 2011-2012 In our fast-changing world we seldom come in contact
During a controlled prairie fire, Jane Fulton Alt observes,
with real nature. Nature has become a museum piece,
there comes a moment when life and death are not
animals are exhibited, fenced in and protected by laws. In
competing forces, but parts of one all-embracing process.
her images Patricia van de Camp reminds us of the lost
The start of her long-term project THE BURN coincided
intimacy between man and nature. Mankind longs to return
with the diagnosis and treatment of her sister’s cervical
to a symbiotic relationship with nature, but the bitter reality
cancer. The parallels are evident: just as the prairie fire kills
is that we are more likely to come into contact with a dead
unwanted vegetation to give other plants a chance to grow,
animal than a living one.
chemotherapy kills unwanted cells to create room for
healthy ones. This cycle was the inspiration for THE BURN.
Netherlands, 1969) switched over to the arts. She studied at
the Gerrit Rietveld Academy in Amsterdam and the Kolding
In her work Jane Fulton Alt (United States, 1951)
After studying law, Patricia van de Camp (The
investigates vast themes like love, loss and spirituality. She
Königliche Dänisch academy. Since 2007 she has devoted
produced the book Look and Leave: Photographs and Stories
herself entirely to photography and art.
from New Orleans’s Lower Ninth Ward (2009), and in 2011 was honoured with the Photo District News Curator’s Choice Award. Fulton Alt lives and works in Chicago.
026 Ellie Davies Come with Me | 2011 In COME WITH ME Ellie Davies investigates the relation
020 Kim Boske I Go Walking In Your Landscape | 2010
between landscapes and the artist, and the way in which
How do we experience time and space? Kim Boske
underscores that our perception of nature is coloured
records the landscape from different vantage points and
by our cultural baggage. Davies photographed paths of
at different moments. By combining these, layer over
artificial materials meandering through the woods, paths
layer, into one image she tries to establish the essential
which enable her to be a part of nature, and which shape
quality of the changing reality; a quality that is lost in a
nature. Her work is a new approach to the role that art has
simple, frozen image. In this way she investigates how our
traditionally had in the attribution of meaning to nature, and
own movement through time and space influences our
the creation of myths.
perspective on the world.
the London College of Communication. Among the prizes she
Kim Boske (The Netherlands, 1978) studied at the Royal
the landscape helps form identity. In addition, the series
Ellie Davies (Great Britain, 1976) studied photography at
Academy for the Visual Arts in The Hague. Her work bears
has received are the Lens Culture International Exposure Award
witness to her fascination with the passage of time. Boske is
and the Charmian Adams Award, and she took first prize in the
always in search of the hidden reality behind the visual world.
Fine Art Landscape category of the Prix de la Photographie
She seeks to capture the transitory and render it palpable.
Paris. Davies lives and works in London.
022 JG Bryce Sacred Forests and Jungles| 2012
028 David Farrell The Long Grass | 2001-2005
SACRED FORESTS contains a series of portraits of sacred
The photographer David Farrell describes his series
woodlands all around the world. As a result of their sacred
THE LONG GRASS – originally a part of a wider work
status they also are rare bastions of biodiversity. They are
entitled Close Encounters – as a collection of ‘post-coital
places where scientists can still find the kingdom of nature
landscapes’.They are autonomous, non-specific sexual
intact, and are in shrill contrast to the polluted and over-
images that afford the viewer the freedom to project onto
whelmingly complex world in which we live.
them any erotic image which enters his or her mind.
JG Bryce (United States, 1974) studied Italian literature
David Farrell (Ireland, 1961) was trained as a chemist,
in Venice and Chinese in Beijing, before completing his studies
but is presently a photographer and photography instructor. He
in Liberal Arts at Wake Forest University, in Winston-Salem,
received the 2004 European Publishers Award for Photography
North Carolina. Among the places he has lived are Hong Kong,
for his book Innocent Landscapes. He took part in the
Singapore, Tokyo, Shanghai and New York – and he presently
European Eyes on Japan project and produced the multimedia
lives in the capital of Taiwan, Taipei. He has twice received
film Crow together with the composer Benjamin Dwyer. Since
Picture of the Year Awards, and also the Ozzie Gold Award for
2009 he has once again been following the search for the
missing from the Northern Irish conflict, in the places that he had previously recorded in Innocent Landscapes.
030 Doug Fogelson Exit Eden | 2012
034 Andrej Glusgold Black Forest | 2011-2012
While on the one hand we wrestle with our feelings
After Andrej Glusgold photographed a sunset in the
regarding the loss of nature and climate change, we still
mountains of Saxony in 2009, he became lost in the forest.
foster strong ideas about the beauty of the landscape.
Surrounded by darkness and without a pocket torch, he
Doug Fogelson photographs luxuriant nature to then
was forced to spend the night in the woods. For the first
bleach out the emulsion of the film, bit by bit. The tints
time in his life he experienced the forest just as men had
gradually disappear – first the yellow, then magenta, then
for thousands of years: as a threatening place. He seeks to
cyan – in a metaphor for the way our natural environment
bring that sense across in his series BLACK FOREST.
is gradually crumbling. Fogelson indirectly poses critical
questions about the creative and destructive role of man.
Union, 1968) emigrated to West Germany in 1981, where
At the same time he demonstrates that change – even if it
he studied at the Art Academy in Bremen in the 1990s.
is destructive – can result in great beauty.
His work has appeared in various, primarily French and
German magazines, and has been seen at the Rencontres
Doug Fogelson (United States, 1970) took his BA in Fine
Born and raised in Moldavia, Andrej Glusgold (Soviet
Arts at the School of the Art Institute in Chicago. He has been
Photographiques d’Arles and other festivals. Presently he is
active as a photographer and artist since 1996, and in 2001
professor of photography at the University of Applied Arts in
was included in their ‘30 Under Thirty’ list of the most promising
young photographers by the American photo magazine Photo District News. He is the founder and director of Front Forty Press, a publisher that specializes in artistic books.
036 Samuel Hense Petits & Grand | 2010-2011 Every summer urban children, satiated with pre-
032 Julia Fullerton-Batten Teenage Stories | 2006
programmed computer games, retreat into nature to build
For teenage girls the years of adolescence are a complex
the canopy of leaves they indulge in stories that go far
and sensitive period in which they learn to see themselves
enough to be exciting, but not so far that the adult world
in the context of society and wrestle with their identity.
gets worried. After a time they leave these huts behind,
It is a time of psychological and physical change. Julia
small monuments to the nostalgic, wild days of childhood.
Fullerton-Batten photographed teenage girls in a landscape
setting that was strange to them, and asked them to pose.
freelance photographer since 2008. He studied at the School for
The result is a measure of the discomfort that is inseparably
Photojournalism and the School for the Fine Arts, both in Paris.
linked with this phase of life.
In his work he investigates how the traces that man, nature, or
simply time leave behind control our memories of places.
The British photographer Julia Fullerton-Batten (West
castles and palaces of branches and brushwood. Under
Samuel Hense (France, 1973) has been active as a
Germany, 1970) grew up in Germany and the United States. Reading, England, and has been a freelance photographer
038 Sana Khan Tree Series | 2011
since 2001. She twice won a John Kobal Award, and in 2005
The work of the photographer Sana Khan always has a
and 2007 she was honoured by the Royal Photographic
dreamy quality. In her TREE SERIES we see people in
Society in England. Her work is included in the permanent
stylized landscapes whose central feature are trees. There
collections of the National Portrait Gallery and the Musée de
is always the suggestion of loneliness and inadequacy. In
l’Elysée in Lausanne.
that sense the images are more psychological portraits,
032 Snails, 2006
than real situations.
033 Girl with birds in New Forest, 2007
She studied at the Berkshire College of Art and Design in
Sana Khan (Pakistan, 1987) studied photography
at Beaconhouse National University in Lahore and at the University of Westminster, England. She has had a solo show at the Alhamra National Art Gallery in Lahore, en contributed to various group exhibitions in Great Britain and Pakistan. 038 (left) This photograph is from the perception of a child, how an innocent, untouched mind feels during his or her tender years of growing up. More as an observer, the young mind feels limitless in his or her imagination of the world around them while in reality feeling
to achieve life desired. The ladder against the tree
042 Simon Menner Camouflage | 2009
signifies the long trailing steps one climbs to try and
The intention of a sniper is to remain unseen. Within the
reach a desired purpose. The cloud symbolizing a
framework of his research into the nature of terror and the
dream, an endeavour that must be attained, yet it is
mechanisms that we employ to arouse feelings of anxiety
too translucent to hold the weight of my aspirations.
and uncertainty, Simon Menner (with the assistance of
The dead tree, the sulking man, the translucent cloud,
the German army) photographed snipers hiding in the
they all denote failed attempts of reaching a desired
landscape. Look carefully and you will see them – their
axis of existence.
weapons aimed at the camera – and thus at you.
038-039 This photograph is a representation of a struggle
039 (right) The last of the trees series, this photograph is
Simon Menner (West Germany, 1978) took his Masters
the epiphany of the reality of a dream. The man
of Fine Arts at the Universität der Künste in Berlin, where
personifies the state of hard work that should glorify
he also received the Master Student Award. His work has
the attainment of the dream, yet is surrounded by
appeared in many German magazines and newspapers, but
gloominess and disillusionment, while he sits on a
also in The New Yorker, NRC Handelsblad and Le Monde. His
tree in a state of bafflement. He’s still bound by ropes
book The Uncanny Familiar. Images of Terror appeared in 2011.
and ties that seem meaningless despite of everything the vicious circle of life where disdain and defeat
044 Polixeni Papapetrou Haunted Country | 2006
A recurrent theme in Australian films, literature, art and his-
lost and gained. It is a place of ambiguity of thoughts;
tory is the child who disappears into the bush. In contrast
040 Paula McCartney Bird Watching | 2003-2008
to European fairy tales, in which the wilderness can also
Any time that Paula McCartney walks in the woods she has
tion, the Australian bush is only a place of curse and doom.
an eye for the birds. But she never tried to capture them
HAUNTED COUNTRY consists of images that are staged
with her camera: the birds were too far away and too flighty
at places where children of colonists once disappeared.
in their movements to arrive at a satisfactory composition.
Both literally and metaphorically they touch on the vulner-
She solved that problem in BIRD WATCHING by placing
ability of children and the ambivalent relation Australians
handmade songbirds in the landscape and photographing
have with their merciless landscape.
these ‘upgraded’ landscapes. The birds are like jewels that
enrich the landscape, even as the landscape gives added
as a lawyer, but in the 1990s transferred her interests to
value to the birds.
photography. She took her Master of Arts at RMIT University,
and earned a doctorate at Monash University, both in
Paula McCartney (United States, 1971) took her Masters
be a refuge, and a place of self-discovery and transforma-
Polixeni Papapetrou (Australia, 1960) was trained
in photography at the San Francisco Art Institute. She had
Melbourne. She has made her reputation with intimate work in
previously studied photography at Empire State College and
which, in a guarded manner, the world of children is central.
the International Center of Photography in New York. Her ornithology.
046 Rattana Vandy Bomb Ponds | 2009
040 Aqua Tanager, 2004
With regularity the serene landscape of Cambodia betrays
041 Long-tailed Waxbill, 2005
its bloody history. One example of that are what are called
work is primarily concerned with the fields of landscape and
‘bomb ponds’, water features that have formed in the craters that were created by the illegal American bombardment during the Vietnam War. Rattana Vandy’s experience of the landscape has been coloured by it. The sound of the violence, and with it of Cambodia history, has died away, but in that silence Vandy hears it yet. That makes it difficult to enjoy the real sounds of nature.
In his work Rattana Vandy (Cambodia, 1980) tries to ex-
pose the hidden realities of his country. His work was nominated for the Sovereign Asian Art Prize, and included in the Prix Pictet publication Earth. Rattana is a co-founder of the artists’ collective Stiev Selepak (Art Rebels), and opened the SaSa Gallery, the first artist-managed gallery in Phnom Penh.
048 Nick Rochowski Liminal Points | 2008-2011
building of New South Wales. He has published eight books,
The Latin word limen means ‘boundary’ or ‘threshold’. We
and received the prestigious NSW Parliamentary Plein Air
encounter the liminal everywhere in our lives. In LIMINAL a boundary between then and now, between reality and
054 Agnes Thor Untitled | 2010
fantasy. He returned to Penn Wood, Buckinghamshire,
In her work Agnes Thor creates worlds that fall into the
to the vivid fantasies of his childhood, in a journey out of
twilight zone between reality and fiction. This is because
the ordinary. The series was inspired by films from the late
she photographs both actual, and small, staged events.
1970s and early 1990s, and the work of the magic realist
Her Nathalie: Southwood Sequence is a portrait of a utopia,
writer J.G. Ballard and manga artist and writer Katsuhiro
as described in Celtic myths. Aurora Borealis is inspired by
Otomo, among others. For LIMINAL POINTS Rochowski
Norse myths, and takes place in a world where trees, stones
worked together with the illustrator Greg Haynes and music
or mist can suddenly be transformed into mythic beings.
UNTITLED presents a selection from these series, which are
indirect portraits of Thor herself.
POINTS Nick Rochowski, mindful of Plato, demolishes
Nick Rochowski (Great Britain, 1981) studied at the
London College of Printing. In addition to this own projects he
works on assignments from clients in the world of architecture
the School of Photography at the University of Gotenburg. Her
Agnes Thor (Sweden, 1986) studied photography at
and design, cultural institutions and the creative industry. In
work is deeply influenced by her childhood in rural Sweden.
2011 he founded Rokov Publishing op. Among the awards
She has published the monographs Aurora Borealis, Pleasure
Rochowski has received are an IPA Award and the Silver Book
First and Mad Rush. Thor lives and works in New York.
Award from the Prix de la Photographie, Paris.
050 Gregor Schuster Blackwood | 2012 – ongoing
056 Tessa Verder The Day the World Whispered | ongoing During the Industrial Revolution German romantic painters
Anyone following Little Red Riding Hood’s footsteps into
– Caspar David Friedrich in the lead – combined elements
the deepest, darkest parts of the forest enters the theatre
from different landscapes to their heart’s content in order
of the imagination. Near and far, dark and light, and the
to expose the sublime and approach ‘true feeling’. A mass
colour spectrum all blur, so that we end up in a transcen-
of rocks from Rügen could therefore end up next to a tree
dent state, in a dream world and the subconscious. Gregor
from Dresden. In this series Tessa Verder puts trees from
Schuster invites us to become creatures in that forest.
paintings into her photographed landscapes. She too no
longer shuns combinations, now that man once again
Gregor Schuster (Germany, 1974) took a degree from
the Lette-Schule of Photography in Berlin. He was co-curator
appears to be in search of the restoration of contact with
of the Darmstädter Tage der Fotografie. Together with the artist
Daniel Wetzel he produced the series Supermodels, which was
to be seen this year at Les Rencontre d’Arles and the Palm
for Photography in Haarlem and studied at the Rietveld
Springs Photo Festival.
Academy. Her work, which is included in the collections of
Tessa Verder (Netherlands, 1967) attended the Academy
the Frans Hals Museum and the Felix Nussbaum Haus in
052 Peter Solness Illuminated Landscape | 2009-ongoing
Osnabrück, among other institutions, has been shown in the
Peter Solness specializes in night photography. By pho-
and worked in Berlin.
tographing in the dark, with long exposure times, each
056-057 Day 1, 2009
landscape becomes a painting of light, in which the sparse
057 (right) Day 16, 2012
natural light becomes mixed with the light of street lamps. The work is an ensemble of the immediacy of photography and the weighed sensibility of painting.
Peter Solness (Australia, 1958) began his career in the
1980s as a photographer for The Sydney Morning Herald and the National Times. He lived and worked both in urban environments and in the vast Australian outback. Among the institutions with his work in their collections are the National Library of Australia, the Museum of Sydney, and the Parliament 264
Netherlands and other countries. Since 2006 Verder has lived
058 Benoît Vollmer Dépositions | 2010-2011
2006 the pair received a Fulbright Scholarship Award for their project The Searchers, about Western pilgrims in India.
Céret, a village in the French Pyrenees, was once popular his stay there Benoît Vollmer turned his back on both
066 Jon Cazenave Amalur | 2007-2012
the realistic and the consciously disorienting traditions in
The Spanish photographer Jon Cazenave was born in the
landscape photography. In their place, he sought refuge in
Basque country, a region with a strong thirst for autonomy.
the abstractions of early 20th century painting. He looked
The Basque country is set off from the rest of Spain by
for the edges of the cultivated plots, and undertook an
mountains, permitting the growth of a vital language and
attempt to capture an element in his images which is
culture. In its landscape, Cazenave says, nature blends
omnipresent, but impossible to grasp: the unceasing wind
with history and legend. The result is a mythic, magical land
of the Pyrenees.
– the subject of Cazenave’s photography. By humanizing
trees and animals, he creates a symbolic landscape that
with painters like Picasso, Matisse and Braque. During
Benoît Vollmer (France, 1983) was trained at the
École de Photographie de Vevey, has has exhibited his work
lays bare the soul of the Basques.
frequently, especially in France and the Netherlands. He is
represented by Galerie Van Kranendonk in The Hague.
economist and worked in the financial world for five years
Jon Cazenave (b. Spain, 1978) was trained as an
before he devoted himself to the study of photography in 2006. He participated in workshops given by the Norse photographer
062 Korrie Besems Dutch Mountains | 2010-2011
Pep Bonet and Magnum photographer Paolo Pellegrin. In 2008
The Netherlands has many ‘man-made’ hills which can be
better fathom his own country.
used for recreation by skiers, mountain bikers, golfers and
066 Amalur 2, 2009
hikers. Korrie Besems recorded them. With one exception
067 (top) Amalur 4, 2011
– SnowWorld, which arose on the spoils heap of a former
067 (second) Amalur 5, 2012
coal mine – these hills conceal former refuse tips, which
067 (third) Amalur 8, 2010
now provide the opportunity to develop activities that would
067 (down) Amalur 10, 2011
he decided to focus on the Basque question, in an attempt to
otherwise not be obvious possibilities in the flat Netherlands. mental design at the St. Joost Academy for Art and Design Den
068 Venetia Dearden Eight Days | 2011
Bosch. Her book Verzonnen Verleden was nominated for a Dutch
Just as pilgrims flock together at holy places, where they
Doc Award in 2010, and in 2009 was in the running at PHoto-
meet one another and forge bonds, the festival calender
España in Madrid in the best photo book category. Besems’ work
brings together large groups of young people. During
is to be found in the collections of several museums.
festivals, Venetia Dearden says, young people find their
062-063 Zoetermeer, Buytenpark/Snowworld, 2011
‘tribe’ or ‘community’. EIGHT DAYS is the result of a
Korrie Besems (the Netherlands, 1961) studied monu-
personal journey that the photographer undertook in 2010
064 Sasha Bezzubov Albedo Zone | 2012
with a group of her friends, during a road trip through
The series ALBEDO ZONE is comprised of black and white
far from the well-ordered everyday world’.
photographs of glacial ice and glacier water. They were
made in Alaska, consistent with a scientific system that
anthropology a the University of Edinburgh, a course that
calculates the degree of reflection of solar energy from the
awakened her wanderlust. On her journeys of discovery she
terrain, a technique that is important to the study of climate
began to record the world that she encountered in work that
change. This reflective capacity is termed ‘albedo’. Ice
was spontaneous and emotionally charged. She has published
reflects warmth, whereas water absorbes it, a mechanism
the books Glastonbury, Another Stage (2010) and Eight
that strengthens warming effects. Bezzubov made silver
Days (2011). In 2011 she became a member of the VII Photo
gelatine prints of his photos, which gives the original prints
a delicate beauty, which can not be duplicated in reproduc-
068-069 Woman in my Arms, 2010
California and Nevada. They entered an ‘alternative reality, Venetia Dearden (Great Britain, 1975) studied
(left) Sun Burst, 2010
The Ukranian Sasha Bezzubov (Soviet Union, 1965)
studied at the Yale University School of Art. In addition to doing his own photography, since 2002 he has frequently worked together with the American photographer Jessica Sucher. In
070 Bela Doka The Sundays of Life | 2010
074 Stuart Franklin Narcissus | 2009-ongoing
How do you photograph those moments which, although
Narcissus, a figure from Greek mythology, saw his own
not dramatic or spectacular and moving, are nonetheless
reflection in the water, and fell in love with himself. During
at the heart of our enjoyment of life? Bela Doka found the
an exploration of the Norwegian landscape Stuart Franklin
answer in and around the rural home of his girlfriend’s
noted that he was seeking visual points of reference. His
family. This is a world of sunny luncheon tables, a
mind descried the shapes of eyes, trolls and icons in tree
reinvigorating swim in the river, wandering through open
bark, clumps of grass and water features. They were
fields, and activities that are entirely unconnected with
reflections of his own mind, which provided him with a
deadlines and production schedules.
gateway to reveal an unfamiliar landscape.
Bela Doka (Hungary, 1969) has shown his work in
Stuart Franklin (Great Britain, 1956) studied photography
venues including Paris Photo and PHotoEspaña. He won the
at the West Surrey College of Art and Design and geography at
Hungarian press photography prize three times, and was a
Oxford University, from which he received a doctorate in 2001.
finalist for a Sony World Photography Award and the London
He has been a member of Magnum Photos since 1989, and from
Street Photography Awards. His book The Sundays of Life
2006 to 2009 was chairman of that prestigious photo agency.
appeared in 2010.
He photographed the rebellion on Tiananmen Square, and
070 Bence’s Bath, 2007
won several World Press Awards. During the 2009 Noorderlicht
071 Relaxing, 2006
International Photo Festival he was curator of Point of No Return,
072 Rena Effendi Liquid Land | 2006-2010
074 Self portrait. Black Forest, 2009
a controversial exhibition of photography from the Gaza Strip. 075 Waterfall over Holsvatnet I, 2010
Thanks to the industrialization during the Soviet era and of the most seriously polluted sites in the world. On the
076 David Galjaard Concresco | 2012
Apsheron peninsula, which projects out into the Caspian
Fearing an invasion of his country, under his regime the
Sea, the ground exudes a toxic vapour, while oil seeping to
Albanian Communist leader Enver Hoxha had about
the surface makes the soil infertile. Rena Effendi conceived
750,000 bunkers built. Strangely enough, the effect was
LIQUID LAND together with her father, a dissident
an increasing sense of insecurity among the population.
entomologist who was able to collect 90,000 butterflies
Twenty years after the fall of Communism only outsiders
from the Soviet Union. Images of the colourful but dead
still have an eye for the relics of the paranoid past. The
creatures interact powerfully with those of Apsheron’s
way in which the bunkers are disappearing, or being
repurposed for entirely new uses, affords an insight into the
transformation process in the poorest country in Europe.
contamination from its oil industry, Azerbaijan has a number
The Azerbaijani Rena Effendi (Soviet Union, 1977) began
photographing in 2001, and since then has won many prizes,
including Magnum Foundation and Sony awards. She focuses
Documentary Photography at the Royal Academy for the Visual
primarily on the effect that the oil industry has had on life in her
Arts in The Hague. Among the publications where his work has
own country. She traced the route of a 1700 kilometre pipeline
appeared are the NRC Handelsblad, nrc.next and Nieuwe Revu.
for her first book, Pipe Dreams: A Chronicle of Lives along the
His work is included in the collections of the Rijksmuseum in
Pipeline. In 2011 she was honoured by the Dutch Prince Claus
Amsterdam, and the municipal archives of Amersfoort and The
Fund for the way in which she ‘has recorded the social impact
of unrestrained, profit-driven “development”. 072 (above) Papilio machaon L. Habitat: Baku and the
Absheron Peninsula, 2010.
072 (below) Oil puddle. Balakhani village, Baku, 2010. 073 (above) Gas mask in an oil puddle. Balakhani village,
073 (below) Pararge adrastoides Bienert. Nearly extinct.
Habitat Talish mountains of Lenkoran, 2010.
David Galjaard (The Netherlands, 1983) studied
078 John Brinton Hogan Vacation | 2004-2009
From its earliest days the West of the United States has
briefly for The Independent before going to work as a freelancer.
been a dream that had to be sold. In his series VACATION
Since 2000 he has worked alone on long-term projects, and
John Brinton Hogan deals with the ways in which art and
for magazines and commercial clients. He won a World Press
media have shaped the myth of the West. He shows us
Photo award and received a W. Eugene Smith Fellowship and
that everywhere there are places where vast vistas can be
Churchill Fellowship for his project on Indian widows.
Kalpesh Lathigra (Great Britain, 1971) studied
photojournalism at the London College of Printing, and worked
experienced, just as they were before the arrival of man. them, and the illusion is shattered.
084 Lola Reboud The Ephemeris | 2011
While the Arab Spring dominated the media and conversa-
But catch sight of the infrastructure that now intrudes on John Brinton Hogan (United States, 1963) is self-
trained. He has taken part in exhibitions in his own land, Japan,
tions on the street, in the Moroccan city of Tangier Lola
Denmark and other countries, and was twice artist in residence
Reboud was photographing young people who gathered
at the Center for Land Use Interpretation in Wendover, Utah. He
in parks, gardens and on the outskirts of the city during
lives in San Diego, California.
Ramadan. From these various places she created one
utopian Garden of Eden. All the encounters she recorded
Grand Teton National Park, Wyoming, 2005
were as transitory as the season in which they took place,
080 Britta Isenrath Parts per Million | 2010
and given the political situation, paradoxical in their gentle-
The phrase ‘parts per million’ refers to the proportion of
that give the positions of astronomical objects in the sky.
one element to the whole of the compound of which it is
These tables sugest constant movements, just like the lives
part. Isenrath made the series with the same title in August,
of these young people change constantly.
2010, several months after an explosion on the Deepwater
Horizon oil platform in the Gulf of Mexico spewed hundreds
the École Nationale Supérieure d’Arts, the National School
of thousands of barrels of oil into the water. Because
of Decorative Art and the Sorbonne, all in Paris. She did an
access to the heavily polluted coastal areas of Louisiana,
internship at Magnum, where she assisted Elliott Erwitt and
Mississippi, Alabama and Florida was restricted, Isenrath
Alec Soth. Presently she is working with various media and
decided to photograph the beautiful beaches which were
non-governmental organizations, and focusing on her own
still accessible. The barely visible clean-up crews and their
ness. Reboud derived the title of the series from the tables
Lola Reboud (France, 1982) studied photography at
materials disrupt the idyll.
Super Dry as her graduation project. In 2008 she was among
086 Misha de Ridder Dune | 2006 Solstice | 2011
the organizers of Galerie Flut in Bremen. A year later she was a
With SOLSTICE the photographer Misha de Ridder seeks
co-founder of the art collective Kill Your Darlings.
nothing less than to record the sublimity of nature. For him
Britta Isenrath (West Germany, 1979) graduated from
the University of the Arts at Bremen in 2010, with her series
it is not a matter of reducing nature at a saccharine picture
082 Kalpesh Lathigra Lost in the Wilderness | 2008
post card, but rather of laying bare its various emotional
The impressive landscape of the American Midwest was
De Ridder sought echoes of the past in the landscape
the backdrop for genocide during the second half of the
of today, in this case in the Kennemer Dunes of North
19th century. Countless Native American tribes were driven
Holland. With his work De Ridder tries to make something
from their land, exterminated or confined to reservations by
which is pre-eminently individual, namely the experience of
a duplicitous federal government. Kalpesh Lathigra pho-
a landscape, accessible for viewers.
tographed the people and landscapes of the Pine Ridge
Reservation in South Dakota, since 1876 home to the
the Hogeschool voor de Kunsten in Utrecht, and has since
Oglala-Lakota Sioux. It is a place with massive problems:
published the photo books Sightseeing (2000), Wilderness
high unemployment, drug and alcohol abuse, obesity,
(2003), Dune (2011) and Abendsonne (2011). In his work De
dimensions, from the meditative to the sinister. In DUNE
Misha de Ridder (The Netherlands, 1971) studied at
domestic violence and a gang culture. But its people also
Ridder seeks to capture the fleeting and mysterious in nature.
maintain a proud culture.
086-087 Ivguvuovdi, 2011
088 Simon Roberts We English | 2009
and Morris regularly combine the images with objects,
Just as in his project MOTHERLAND, in WE ENGLISH
Simon Roberts investigates themes like identity and
and Edward Morris (United States, 1971) are known for their
memory. He travelled around through his native land in a
interdisciplinary and activist work, in which environmental
camper, photographing scenes of his countrymen engaged
questions play a large role. The project shown laid the
in recreational activities, presented in large format. Roberts
foundation for a wider collaborative effort involving over thirty
shows us a people who have a close bond with their local
artists, which under the name of The Canary Project seeks to
surroundings and the land. Anyone wanting to know what it
make the public more aware of climate change.
research data and video installations. The artist duo Susannah Sayler (United States, 1969)
means to be ‘English’ only has to look at the commonplace and the banal in English leisure activities.
Simon Roberts (Great Britain, 1974) studied Human
094 TAXI Being There & Then | 2012
Geography at the University of Sheffield and completed the
Each landscape has a character of its own, formed by an
photography course at Sheffield College. His work has been
interplay of shapes, textures, sounds, odours and light. It is
honoured with the Vic Odden Award and the Bright Spark
that character that makes it possible for us to feel a deep
Award. Roberts took the World Press Masterclass, and has
connection with nature. The artist duo TAXI were travelling
published the the photo books Motherland (2007) and We
with Gora, a little boy from the city, and by accident ended
up in an isolated landscape on the edge of a city. It was an entirely different landscape than Gora was used to. The
090 Matthieu Rytz Pachamama | 2011
emotions that he felt in that place at that moment are the
The goddess Pachamama – a name that literally translated
means ‘Mother Earth’ – plays a central role in the religion of
Roy Chowdhury (India, 1976) have worked together under the
many native peoples in South America. Their traditions also
name TAXI. Samaipati studied at the North Bengal University,
emphasize the direct relation between man and nature. This
the Birla Institute of Liberal Arts and the National Institute
connects with the scientific idea that all organisms and the
of Fashion Technology. Roy Chowdhury studied at Calcutta
non-organic environment (water, rocks, soil) are part of one
University. The pair work in various media, from photography
complex, integrated system. From this follows the idea that
and hand coloured photos to video, and have participated in
anyone who harms nature is committing a form of self-
various international exhibitions, including the Berlin Biënnale.
subject of BEING THERE & THEN. Since 2007 Suman Samaipati (India, 1975) and Sourav
mutilation. Rytz travelled into the Colombian Amazon rain Pachamama.
096 Goos van der Veen The Skiable Landscape | 2009-2012
With a few exceptions, almost all recreational interventions in
forest to photograph people who have not yet repudiated Matthieu Rytz (Switzerland, 1980) studied Visual
Anthropology at the Université de Montréal, and in 2008
the landscape date from after the Second World War. Notable
founded AnthropoGraphia, an organization devoted to
examples are the European ski resorts like Flaine and Avoriaz,
advancing human rights by means of telling visual stories.
which were designed in the 1960s and built according to a
In addition Rytz is artistic director of Productions Foton, a
clear plan. Other ski resorts were more Wild West operations,
non-profit organization for the promotion of documentary
as the proliferation of chalet-like buildings testified. In THE
photography. He lives and works in Montreal, Canada.
SKIABLE LANDSCAPE Goos van der Veen shows us the radically reshaped mountain landscape and its users.
092 Susannah Sayler & Edward Morris A History of The Future | 2005-ongoing
The photos in the series A HISTORY OF THE FUTURE were
in The Hague. As a photojournalist he has published in
shot at places where scientists are researching climate
de Volkskrant, Vrij Nederland and other periodicals. In addition,
change and seeking ways to minimize its effects or help
he has worked for various cultural institutions and commercial
us adapt to them. The serenity of these places contrasts
clients. As well as THE SKIABLE LANDSCAPE he has also done
radically with the violent consequences that climate change
the landscape series The Dutch Mountains and I Saw the Dead
has. Here it is not the individual image that tells the story,
Wherever I looked.
but the whole archive of images, in the larger context of the
096 Tignes (Espace Killy), Savoie, France, 2010
discourse on climate change. It is for this reason that Sayler
097 Avoriaz (Portes de Soleil), Haute Savoie, France, 2010
Goos van der Veen (Netherlands, 1958) received his
diploma in 1982 from the School for Photography and Fotonica
098 Marco Vernaschi Biophilia | 2011-ongoing
does tell us something about the psychology of perception. We can not look without assigning meaning, Bogaers says.
We live in a time of massive change, in which the social
The inner thoughts are exposed by the external world.
and economic structures created by man appear to be
inadequate. The resulting disorientation forces us to recon-
Academie voor Beeldende Vorming in Tilburg. In his work
sider our lives. Nature, if it is not the answer, can at least
he makes frequent use of found images – from picture post
be a refuge where people can set up new ways of living,
cards to family snapshots – that he appropriates in ways that
or simply draw the inspiration necessary for their reflection.
suggest new meanings.
Paul Bogaers (Netherlands, 1961) was trained at the
In BIOPHILIA Marco Vernaschi investigates our apparently series of personal experiences.
106 Juan Calle Cartographies Of Violence | 2010
In the West man has turned his back on nature, say Juan
instinctive urge to restore our bond with nature, based on a In 2012 Marco Vernaschi (Italy, 1973) was named
‘Ambassador of Italian Excellence in the World’ by the Italian
Calle. But that is different in Colombia. There the struggle
Ministries of Foreign Affairs and Culture, while TIME called him
for land is the basis for an unceasing cycle of violence
one of the most important contemporary artists. Among the
between the FARC guerrillas, paramilitaries, multinationals
prizes he has won are a World Press Photo, several PGB Photo
and the government, with defenceless citizens, farmers
Awards, the FUJIFILM Prize and a Sony Photo Award. His work
and minorities caught in the middle. In his collages Calle
has been seen in the Venice Biënnale and other venues.
transforms the landscape of Colombia into a metaphor for
a history of conflict, exploitation and discrimination.
Juan Calle (Colombia, 1949) took courses at the New
102 Yasser Aggour The Hunted | 2010-ongoing
York Institute of Photography, and is the founder and director of
In 2010 Yasser Aggour began collecting photographs of
dedicated to preserving the culture of small communities. In his
hunting trophies and the proudly smiling hunters posing
strongly conceptual work Calle tries to transcend the visual and
with their dead prey. The images had a strange and morbid
create metaphors. Calle has often taught in Bogotá, and is the
allure. Rather than presenting them as objets trouvés,
mentor for various young Colombian photographers.
Aggour decided to manipulate them digitally, stripping
106 Good land, bad land
out the hunters. The images of the bodies of the animals,
the non-profit organization Corporación El Hormiguero, which is
isolated and contorted, are simultaneously poignant and and a memento mori.
108 Claire Dorn Colorfield | 2011-2012
With COLORFIELD Claire Dorn pays homage to the work
brutal, a cross between landscape photography, found art, Yasser Aggour (United States, 1972) studied at the
University of California, the London School of Economics
of the painter Mark Rothko (1903-1970), one of the leading
and Yale, where he took a degree in sculpture. His work is
figures in abstract expressionism. The variant that Rothko
characterized by a series of eclectic influences, from economics
practised is known as ‘color field painting’, for the large
and philosophy to conceptual and performance art. His
fields of flat, solid colour that it uses to be able to place
photography spurs the viewer to reflect on the nature of the
maximum emphasis on the colour itself. For Rothko the
medium, without surrendering any of its visual power.
color field was a means of rendering complex concepts in as simple a way as possible. In a similar way, Dorn is
104 Paul Bogaers Les Vacances de M. Rorschach | 2008-2012
seeking a powerful, abstract photography.
The Dutch photographer Paul Bogaers can regularly be
ETPA in Toulouse and art history at the Freie Universität, Berlin.
found at flea markets and second-hand stores. A number
Her photography is a mixture of the poetic and the concrete in
of years back he became intrigued by a kind of picture
the visual arts.
Claire Dorn (France, 1980) studied photography at the
post card which depicts a landscape that is reflected in water. Turn the image by 90 degrees, and it becomes an abstract blot, which is reminiscent of the ink blots in the Rorschach test, which for decades was a regular element in psychological screening. Although Rorschach’s theories are outdated, the instinctive reactions to these images
110 Peter Funch Triptychs | 2012
114 Carlos Irijalba Inercia | 2012
Peter Funch’s photographs have a surrealistic quality. In the
INERCIA is about the way in which reality is constructed
three-part work TRIPTYCHS we see a moment – but is it
by audiovisual media. In a time span of four minutes it
in fact one moment? Were these images manipulated and
plays games with the rhythm and narrative conventions
put together afterwards? Funch himself offers the viewer
of audiovisual renderings of ‘reality’. Just as the blink of
noting more to go on than a quote from the Japanese
an eye disrupts the continuity of time and space, a frame
writer Haruki Murakami: ‘That’s what the world is, after all:
isolates and freezes a precise moment and a precise place.
an endless battle of contrasting memories.’
The sum total of these moments forms the representation
of this putative reality, as contained in ‘the document’.
Peter Funch (Denmark, 1974) studied photojournalism at
the Danish School for Journalism. He was named artist of the
year at Dream Amsterdam 2009, for which he created a large
School of Arts, Basque Country University and the Universität
Carlos Irijalba (Spain, 1979) studied at the Pamploma
public photo installation. For the Danish pavilion at EXPO 2010
der Kunst in Berlin. His work has been seen in seven solo
in Shanghai he produced a series of large-scale works entitled
exhibitions in his own country, and in group exhibitions
Danish Diaries. Funch lives and works in New York.
internationally. In 2012 he received the Explum Young Spanish
110-111 (above) Life’s A Beach I, 2012
110-111 (below) Life’s A Beach II, 2012
112 Toni Hafkenscheid Confabulation | 2007-2010
116 Scarlett Hooft Graafland Soft Horizons | 2004-2010 In SOFT HORIZONS, made in the highlands of Bolivia,
Nature, Toni Hafkenscheid tells us, almost always comes
Scarlett Hooft Graafland makes interventions in the land-
across as artificial. It is as if it has been transplanted directly
scape with the intention of abstracting or emphasizing ele-
from the model railway he has as a child. Hafkenscheid asso-
ments in that landscape. The photos, made over a period
ciates the North American landscape with the trees of cotton
of eight years, balance on the borders of photography, land
wool and cardboard mountains through which his trains
art and performance art, and regularly refer to art history.
used to run. In CONFABULATION he tries to give the real the
appearance of artificiality. For that he uses tilt-shift lenses,
at the Royal Academy of Fine Arts in The Hague, and took
which, because he uses them the ‘wrong way around’, offer
her Masters in Fine Arts at the Parsons School of Design in
him the possibility of having only a small slice of the land-
New York. She was nominated for the Paul Huf Award and the
scape in sharp focus, leaving the rest of the image fuzzy.
German Börse Photography Prize, and won a PDN Photobook
Award in 2012 for her book Soft Horizons.
Toni Hafkenscheid (The Netherlands, 1959) studied at the
Scarlett Hooft Graafland (The Netherlands, 1973) studied
Gerrit Rietveld Academy in Amsterdam, but decided to emigrate North America than in the land of his birth, a fact to which
118 Samnang Khvay Untitled | 2011
scores of group and solo exhibitions in Canada and the United
With his UNTITLED series Samnang Khvay fixes attention
States will testify.
on a development that is having a deep influence on the
112-113 Beach #5
urban planning of the Cambodian capital, Phnom Penh and
the lives of thousands of poor families: the privatization and
to Canada shortly thereafter. His work is still better known in
filling of public lakes for the benefit of developers. Khvay distances himself from the traditional practice of documentary photography by photographing himself while he pours a bucket of sand over himself, a metaphor that is open to various interpretations.
Samnang Khvay (Cambodia, 1982) was trained as a
painter at the Royal University of Fine Arts in Phnom Penh, from which he graduated in 2006. His work has frequently been seen in his own country, but also in France and Japan, where he was artist in residence at the Tokyo Wonder Site. Khvay lives and works in Phnom Penh.
120 Hiroyuki Masuyama The Lost Works of Caspar David Friedrich | 2007-2009
landscape. ENTER THE GREAT WIDE OPEN lays bare
The Japanese photographer Hiroyuki Masuyama travelled
through Europe in the footsteps of the 19th century paint-
Photography at Concordia University in Montreal in 2012. In her
ers Caspar David Friedrich (1774-1840) and J.M.W. Turner
work she investigates memories and identity, on the basis of
(1775-1851), who recorded their travels in romantic and
objects and archives. She was included in the book Front Line:
dramatic paintings, respectively. Masuyama made repro-
Interviews with International Contemporary Photo-base Artists,
ductions of these paintings, assembled from thousands of
and has shown her work at at Les Rencontres Internationales
photos that he took in the places that the painters had set
de la Photographie in Gaspésie, Canada, and at other venues.
elements of the Canadian identity that are still of importance a hundred years later. Aislinn Leggett (Canada, 1981) received her Bachelors in
down on canvas 160 years before. These photo montages new, contemporary dimension.
126 Wawi Navarroza Dominion | 2011
After her studio was completely destroyed by a storm,
are lit from the inside, giving these iconic artworks a whole Hiroyuki Masuyama (Japan, 1968) specialized in oil
painting and murals at the Tokyo National University of Fine
Wawi Navarroza developed a strong urge to photograph
Arts and Music. He continued his studies in Germany, where
volcanos. She ended up in Hawaii, where she was able
he visited the Art Academy in Düsseldorf and the Academy for
to confront the harshest, most destructive forces in wild
Media Art in Cologne. He has frequently exhibited his work in
nature. Is she planning to hoist the white flag in surrender,
Germany, and is still living and working in Düsseldorf.
or is she going to attempt to tame these formidable powers with a white sheet? And what sort of wilderness is it, if it
122 Michael Najjar High Altitude | 2009-2010
can be reduced to the limited scale of a photo?
In January, 2009, Michael Najjar stood on the top of
Salle University in Manilla and the International Center of
Aconcagua, the highest mountain in the world outside of
Photography in New York. In 2012 she took the European
Asia. The photographic material that he assembled there
Master of Fine Art in Photography at the Instituto Europeo
formed the basis for a series on the fluctuations in financial
di Design in Madrid. In 2011 she published the monograph
markets. Najjar visualized the indexes of the world’s most
Gracias Por Su Visita. Her work was previously seen during the
important stock exchanges and made virtual data tangible
Noorderlicht festival Another Asia.
Wawi Navarroza (Philippines, 1979) studied at De La
by giving it the form of serrated mountain tops. The work is virtual, a line which in the Exchanges – where virtual money
128 Loan Nguyen Météo et Phénomènes Naturels | 2007-2010
has become more important than the goods and firms that
Every day disturbing new reports about the changing
it is supposed to represent – has become blurred perhaps
climate arrive through the media. Glaciers are melting,
more than anywhere else.
deserts spreading, water shortages lead to political con-
flicts. The result, Loan Nguyen tells us, is a constant state
a metaphor for the thin line that separates the real and the
Michael Najjar (West Germany, 1966) is a pioneer.
His work is on the interface of photography and information
of agitation and anxiety. Her own anxiety was the starting
technology, of the past and future. By mixing realistic elements
point for a series in which she attributed divine powers
with imaginary creations, he forces us to see and think in new
to herself, to influence the world for the better. What she
ways. In 2008 his first large-scale retrospective was to be seen
shows us is of course impossible, but yet a striking and po-
in the Fotomuseum and in GEM in The Hague. In 2005, 2007
etic translation of the feeling that came over her thanks to
and 2011 he collaborated on the Noorderlicht festivals.
our incapacity to fundamentally deal climate problems.
Loan Nguyen (Switzerland, 1977) studied at the
124 Aislinn Leggett Enter The Great Wide Open | 2012
School of Applied Arts in Vevey, Switzerland, after which she
The way in which her forebears recorded the Canadian
photographers. In 2007 she published the book De retour,
landscape has been definitive for how Aislinn Leggett sees
in which she records her father’s return to Vietnam, eighteen
nature in her country. Using landscape photography from
years after his emigration to Switzerland.
joined POC (Piece of Cake), a network of young European
the beginning of the 20th century, as well as photos from her own family archive, Leggett composed scenes that give her the opportunity to resurrect the past within the
130 Meike Nixdorf In the Orbit of El Teide | 2010-2011
different original source. They are, De Ruijter observes, the
How much information – abstract or visual – can you
gather about a subject from one point of view? That ques-
School voor Fotografie and Fotonica in The Hague and the
tion was the point of departure for a series of photos of El
Willem de Kooning Academy in Rotterdam. He has had
Teide, the largest volcano on the island of Tenerife. Meike
solo exhibitions in the Fries Museum, the Stedelijk Museum
Nixdorf recorded the volcano from different angles, so
Schiedam, and during Art Amsterdam, and was artist in
that each image reveals new aspects of the same object.
residence at Cemeti Art House in Yogyakarta, Indonesia) and at
On the one hand, these images are like the pieces of a
the Santa Fe Art Institute in New Mexico, in the United States.
equivalent of the photographic pixel. Gerco de Ruijter (Netherlands, 1961) studied at the
puzzle which form one whole; on the other, each image is autonomous.
Meike Nixdorf (West Germany, 1976) studied
136 Takeshi Shikama Silent Respiration of Forests | 2005-2011
photography and video at the International Center of
In Japan 70 percent of the land is covered by mountains
Photography in New York. Her work has been seen at
and forests. That possibly explains the intimate bond that
the Darmstadt Fotofestival, FotoFest Houston and in the
he has with the landscape, Takeshi Shikama notes. The
International Center of Photography, and has been acquired
photographer has the sense that the woods are calling him
for the Joaquim Paiva Collection of the Museu de Arte
in a telepathic manner – a feeling that he never had during
Contemporânea in Rio de Janeiro.
the decades that he lived in the megalopolis of Tokyo. His work reflects this new and mysterious relation.
132 Renhui Zhao As We Walked on Water | 2011
In the 1960s Singapore used the earth from its modest
interest to photography in 2002. In 2007 he published his first
hills for landfill projects in the sea. Today this mini-state is
photo series: Mori no Hida – Silent Respiration of Forests. That
almost flat, and must buy sand from Indonesia and Ma-
project became the start of what Shikama calls his life’s work:
laysia if it is to expand its area. Whenever a landfill project
a photographic investigation of nature. He shoots with large
begins, widespread desert-like landscapes appear on the
format cameras, and experimented with printing on handmade
edges of Singapore, replacing now-vanished beaches. On
Japanese gampi paper.
weekends residents go out to the new coast lines, search-
136 Hokkaido, Bihorotoge, 2011
ing for the beaches they once knew. AS WE WALKED ON
137 Harudakenuma #3, 2005
Takeshi Shikama (Japan, 1948) already had a long career
in the world of design behind his back when he shifted his
WATER is part of the Land Archive, a repository for found and historical images.
Renhui Zhao (Singapore, 1981) graduated cum laude
138 Robert Walker Color-Fields | 2005-2012
from the London College of Communication, and under the
Inspired by the 1960s, when, following the lead of Color
aegis of the Institute of Critical Zoologists and The Land Archive
Field painters like Morris Louis and Frank Stella, Robert
has cooperated in solo and group exhibitions in Japan, France,
Walker was producing geometric paintings, in recent years
England, South Korea, Indonesia and other countries. He
he has been photographing flowers with a comparable
received the Deutsche Bank Award for Photography and the
feeling for abstraction. But don’t be fooled, he warns,
Singapore National Arts Council Young Artist Award. In 2009
this is not an attempt to give photography the illusion of
he won the most important art prize in Singapore, the United
painting. It is an attempt to break free of photography’s
Overseas Bank Painting of the Year Award.
objective and recording function, to be able to take a fresh look at an often clichéd subject.
134 Gerco de Ruijter Baumschule | 2009-2011 Almost Nature | 2012
In BAUMSCHULE Gerco de Ruijter plays with the sharply
discussed books New York Inside Out (1984, with a foreword
defined agricultural landscapes of tree farms. Small devia-
by William S. Burroughs) and Color is Power (2000), and in
tions stand out in the rigid rhythms of the rows of trees
2003 was inducted into the Royal Canadian Academy of Arts.
– and it is precisely these deviations which assure that we
Next year COLOR-FIELDS will appear in book form.
are again aware of nature. ALMOST NATURE was done
138 Montréal Botanique - #06, 2006
in an evergreen nursery in Boskoop, South Holland. Each
139 Montréal Botanique - #29, 2010
plant there is a clone, so that each colour represents a 272
In the 1970s Robert Walker (b. Canada, 1945) took
workshops by the photographer and artist Lee Friedlander and the photographer Garry Winogrand. He published the much
140 Thomas Wrede Real Landscapes | 2004-2012
Inspired by the landscape and the light, in REAL LAND-
Her work investigates the way in which is fabricated and the
SCAPES Thomas Wrede created new worlds in model size.
influence that process has on our thinking and our lifestyle. Blau
He places toy cars and plastic trees in natural surroundings
took her Master of Arts from Wimbledon College of Art.
Justine Blau (Luxembourg, 1977) is a multidisciplinary
visual artist who uses photography, installations and sculpture.
and photographs them from just above ground level with gestures become grand and compelling: a replica of a
148 Anita Cruz-Eberhard Digital Ikebanas | 2008-ongoing
grandiose idyll or a terrible disaster.
The digital flower arrangements of Anita Cruz-Eberhard
are inspired by ikebana, the traditional Japanese art of
a large format analogue camera. As a result, the smallest
Thomas Wrede (West Germany, 1963) studied at the
Academy for Fine Arts in Münster, where he later also taught.
arranging flowers. The photographer assembles her
He won the Contemporary Art Award from the Volksbank and
bouquets from the data bases of botanical departments
Raiffeisenbank, the Karl Hofner Award, the DG-Bank Photo
at various universities – they exist thus only in digital and
Award and the Wiesbaden Photo Award. He has published the
printed form. In this sense DIGITAL IKEBANAS is an
books Strange Paradise, Manhattan / Picture World, Panorama
investigation of the relation between the natural and the
artificial, between reality and art, and between reality and
140-141 Drive-In Theatre, 2009
perception. The work underscores the illusory quality of
into the unknown
photography and demonstrates the inability of people to doubt what they see: seeing is believing.
144 Myrto Apostolidou Gong | 2011-2012
Two media come together in GONG: the series comprises
International Center of Photography and the School of Visual
a range of painted entities that are placed in photographed
Arts. Among the recognitions she has received for her work is
landscapes. The mythic figures call up associations with
the Sony World Photography Award.
Anita Cruz-Eberhard (Switzerland, 1974) has lived and
worked in New York since 1997. She studied there at the
a world after a nuclear war, or with an extreme degree Apostolidou describes the beings, painted in a naive style,
150 Alison Carey New Kingdoms | 2007-2012
as forlorn, out of their element and melancholy. They are
What will the world be like when synthetic organisms,
the visualization of the forgotten animal side of man.
created by man, adapt to the natural environment? Alison
Carey photographed dioramas with creatures made from
of evolution in which mankind has ceased to play a role.
The Greek Myrto Apostolidou (United States, 1976)
studied Media Arts at Royal Holloway and Bedford College,
flesh-like material, creating an image of the world after
London. She later pursued a course in photography in her
man. It is a science fiction landscape that is less unreal
homeland, Greece. She works primarily for theatre and film
than it seems. The progress of tissue engineering will make
productions, and organizes workshops for children on isolated
it possible in the future for us to create entities that can
exist outside the controlled environment of the laboratory.
In her work Alison Carey (United States, 1966)
146 Justine Blau The Circumference of the Cumanán Cactus | 2010
investigates the distant past, and the distant future. She
In a commission for Manchester’s Piccadilly railway station
collections of various major American museums.
studied photography at the University of New Mexico and the School of Visual Arts in New York. Her work is included in the
Justine Blau created a series of nine, at first glance wild and exotic landscapes in which man plays no role. On further examination one discovers that these imaginary worlds are assembled from photos that Blau found on the internet. She took her inspiration from the drawings and paintings that were made to acquaint the home front with the discoveries of explorers, from Columbus to Captain Cook with their new worlds, images which were at one and the same time scientific evidence, eye-witnesses’ accounts, and the source of myths.
152 Margherita Cesaretti Erbario | 2008
158 Michael Flomen Hope | 2000-2011
An herbarium, a collection of different species of plants and
Our self-chosen separation from nature is one of the central
flowers, is a scientific manner of observing, categorizing
problems for mankind, Michael Flomen argues. We need
and cataloguing nature. In ERBARIO Margherita Cesaretti
contact with nature, and lose an essential part of ourselves
investigates the fragile beauty of flowers. The series is
when we avoid that contact. Flomen photographs a nature
the outcome of various techniques, ranging from glass
that we do not perceive directly, although we know it exists.
negatives to digital photography. For Cesaretti, these
He work outdoors, where insects and the elements, but
plants, once again awakened to life, are a metaphor for the
also electromagnetic fields and other natural phenomena
way that man seeks ways to survive in all circumstances.
affect his photosensitive material directly. His images, he
explains, are intended to appeal to memories that are
Margherita Cesaretti (Italy, 1982) was trained as a painter
at the Belle Arti in Florence, and in 2010 received a diploma from
deeply anchored in our genes.
the Fondazione Studio Marangoni. In 2010 she won the Special
Italia Prize, and a year later the Fofu Photo Challenge prize.
a street photographer in the tradition of Henri Cartier-Bresson.
From 1974 to 1990 Michael Flomen (Canada, 1952) was
Since then he has focused on the landscape, in particular on
154 Christopher Colville Nothing Is the Rule | 2011-2012
snow. Since 1999 he has been experimenting with exposing
Creation and destruction become one in the work of
158-159 Contact, 2001
Christopher Colville. The artist explodes small amounts of
158 (left) Where Are You, 2004
photosensitive materials directly to the elements.
gunpowder on silver gelatine photo paper. Although the
evoke associations with processes that take place in deep
160 Sharon Harper One Month, Weather Permitting | 2009 Sun/Moon | 2010-ongoing
space, where creation and destruction are equally closely
ONE MONTH consists of photographs of the night sky over
connected with each other.
the Canadian city of Banff. Thanks to the long exposure
time we see not only the tracks of the stars – as streaks of
explosions are controlled by placing objects on the photo paper, the result is always a brilliant accident. The images
Christopher Colville (United States, 1974) studied
successively at Washington University in St. Louis and
light – but also the interference caused by clouds crossing
the University of New Mexico. His work is included in
the sky and air pollution. The series consists of random
the permanent collections of the International Center of
compositions, which become a metaphor for greater
Photography in New York and the Museum of Photographic
natural forces that refuse to submit to our will for order. In
Arts in San Diego, among other institutions. Presently Colville is
these images Harper makes things palpable which remain
a guest lecturer at Arizona State University.
elusive to the naked eye. In SUN/MOON she mines the
impact cameras and optics have on our understanding: we
(left) Gunpowder Moon, 2010
154-155 Work of Fire Verticle #2, 2011
can not look at the sun directly, or know the details of the moon's surface, without a mediating instrument.
156 Henrik Isaksson Garnell Unplugged 2.0 | 2009-2010
For UN-PLUGGED 2.0 Henrik Isaksson Garnell construct-
work, in which technology and perception take centre stage,
ed creatures from natural and man-made elements. He
is included in the permanent collections of the MOMA in New
combined bones, teeth, plants and other organic materials
York, Whitney Museum of American Art, Museum of Fine Arts in
with iron wire, lamps, and other human ephemera. Once
Houston, and other prestigious institutions. Presently she is an
they were completed the artist photographed them in
instructor at Harvard University.
large format, against a black background. The surrealistic
160 One Month, Weather Permitting, 2009
result appears to have arisen in the mind of someone from
Night Sky over Banff, Alberta, Canada
September 12 – October 10, 2007
12 September 13 September
Henrik Isaksson Garnell (Sweden, 1987) took the
Kulturama Higher Photography Education course in Stockholm.
161 Sun/Moon (Trying to See through a Telescope), 2011
In his still short career the unconventional and experimental
Solstice No. 3.
photographer has had solo exhibitions in Berlin, Istanbul and
2011 Jun 21 12:35:34 PM
Stockholm, the city where he lives and works. He describes himself as ‘part artist, part mad scientist’. 274
Sharon Harper (United States) received her Master
of Fine Arts from the School of Visual Arts in New York. Her
162 Paul den Hollander The Luminous Garden | 2010-2011
samples. She makes collages with the images she acquires, which are an ode to the power of nature and
For many people, only part of the physical reality of the
pose poetic questions about the essence of life and time.
world of plants is directly visible. In addition to the forms
that we can see with the unaided eye, plants are sur-
photography at Yale University. She has received grants
rounded by an invisible electromagnetic field. Paul den
from the Fulbright Foundation, the Japan Foundation and
Hollander brings the form and field together, creating a
the American Department of the Interior. At present she is
totally new experience of reality as he does. But more: with
Professor of Photography at the University of North Texas. As a
THE LUMINOUS GARDEN he builds a bridge between art
Fellow of the Guggenheim Foundation she is receiving support
toward the completion of the project ARCHIVING EDEN.
Dornith Doherty (United States, 1957) studied
Paul den Hollander (Netherlands, 1950) studied at the
in 1973 honoured him with the City of Breda Prize. Since
168 Gábor Kerekes Over Roswell | 2002-2008
then Den Hollander has made a name for himself with work in
There are claims that in 1947 a space craft with three dead
which nature is central. He has published several monographs,
extraterrestrials on board crashed near the American town
including Moments in Time (1982), Les Pyramides du Nord
of Roswell, New Mexico – a claim shrouded in mystery and
(1992) and Voyage Botanique (1997), which earned the Foto
source of many conspiracy theories. When Gábor Kerekes
Kees Scherer Prize for the best Dutch photo book.
discovered the computer programme USA Photo Maps, from
St. Joost Academy for Art and Design in Breda, a city which
which it is possible to download photographic quality satellite
164 Kahn & Selesnick The Apollo Prophecies | 2005
images, he wanted to see Roswell as it looks from space.
The seed for THE APOLLO PROPHECIES was planted
by some hundreds of metres... and saw geometric forms
during a period at Toni Morrison’s Atelier Program at
that are intended to get information across to lay persons.
Princeton University. It resulted, years later, in a uninter-
He printed them out and photographed the prints in large
rupted panoramic black and white photo half a metre high
format, so that the digital image again became analogue.
and thirty metres long. On it we see astronauts from the
1960s, who once on the moon discover an expedition
1945) makes work in which the production process and
from the early 20th century which was supposed to have
experimentation are central. He combines analogue projection,
been lost. Kahn and Selesnick made use of miniatures and
photography and heavy digital manipulation of the results to
real actors, who come together in a story with different
create an abstract reality.
Due to a mistake in the coordinates he missed his target
The Hungarian Gábor Kerekes (West Germany,
episodes, composed with a narrative technique reminiscent of religious frescos.
Nicholas Kahn (United States, 1964) and Richard
170 Peeter Laurits Atlas of Heavens | 1999-2012
Selesnick (Great Britain, 1964), both British citizens, have been
The ATLAS OF HEAVENS series is an exercise in pseudo-
working together since they met each other in the early 1980s
cartography. Anyone looking at nature will regularly recognize
while studying at the Art School of Washington University, in
structures that call up associations with maps and alien
St. Louis. They combine photography and installations, and
worlds. Peeter Laurits found them in the toadstools with
specialize in fictional stories which are situated in a distant past
which he was surrounded when he moved to a small hut in
or distant future. Their work is included in a number of museum
the woods of southern Estonia. He photographed them so
collections. Kahn and Selesnick have published three books:
that they create the illusion of colourful and bizarre planets. In
Scotlandfuturebog, City of Salt and The Apollo Prophecies.
doing so he has not only produced portraits of magic mushrooms, but also accounts of mental trips that are sometimes
166 Dornith Doherty Archiving Eden | 2008-ongoing
hallucinatory and sometimes meditative in nature.
Dornith Doherty has been working together with prominent
1962) studied at the universities of Tartu, Tallinn and Leningrad,
botanists from the seed banks of the American Department
and at the New York International Center of Photography.
of Agriculture and the Royal Botanic Gardens in Kew,
Otherwise self-educated, he has delved deeply into history,
England, since 2008. In a time of climate change and
philosophy, literature and art, influences that are perceptible in
declining biodiversity, these banks play an important
his work. Since 1990 his work has been exhibited in England,
role in guaranteeing genetic diversity. Doherty uses the
Island, the United States, Germany, The Netherlands, and other
institutions’ x-ray equipment to record seed and tissue
Born and raised in Estonia, Peeter Laurits (Soviet Union,
172 Sergey Lutsenko The Dark Side of the Moon | 2009
The moon influences life on earth in many ways: through
visual effects for the films Moulin Rouge, Harry Potter and the
the tides, but also through the way in which this heavenly
Prisoner of Azkaban and 300. It was a hectic life, that took her
body – which always turns its same face to us – stimulates
all over the world. In 2008 she decided to devote herself entirely
our fantasies. Sergey Lutsenko evokes his own ideal image
to her own work: poetic landscapes in which photography and
After her studies at the College of Fine Arts in Sydney,
Catherine Nelson (Australia, 1970) assisted in providing the
of a lunar colony. It is not based on a metropolis, but on
digital manipulation come together seamlessly.
a world that feels familiar, like a small town: traffic signs,
176 The King’s Garden, 2011
sports fields, a kitchen garden. There are no people,just
objects. In that sense, Lutsenko says, it is also a model for
177 Spring Blossoms I (from the series NUIT AMERICAINE)
(from the series OTHER WORLDS)
lunar land art. trained as a painter at the Krasnodar Art School, and later took
178 Edi Szekely White Noise | 2012
a course in Conceptual Photography. In 2011 he completed the
Sfumato, Italian for ‘smoky’, is a technique in painting in
course in Graphic Design at the KGUKI Art Academy, also in
which the contours of objects are blurred. With the use of
a 3D programme and mathematical noise algorithms Edi
The Russian Sergey Lutsenko (Soviet Union, 1984) was
Szekely created idyllic, apparently virgin landscapes. But by
174 Judy Natal Future Perfect | 2007-2012
applying a sfumato technique to parts of the image, the im-
The future perfect tense is used to describe events that
in which we usually think about landscape: as something
have not yet occurred, but may confidently be expected
that is largely shaped by interventions on the part of man.
to happen. In FUTURE PERFECT we see three locations
where future ways of life and the choices that people will
studied photography at the Dortmund University of Applied
have to make are being anticipated. One is a piece of
Sciences. His work is a symbiosis between technology and
desert near Las Vegas where experiments with sustainable
nature, two ostensibly contrasting elements.
pression of mystery is evoked. It is reminiscent of the way
The German photographer Edi Szekely (Romania, 1986)
living are taking place, the second the artificial ecosystem landscapes in Island. From the accumulated images Natal
180 Stephanie Valentin earthbound | 2009
composed several chapters. Starting in the year 2040, she
With earthbound – in small letters – Stephanie Valentin
goes back to 2010. Noorderlicht shows the 2040 chapter.
continues her photographic investigation of the hidden
layers of the natural world. Now that climate change has
Biosphere 2 at Oracle, Arizona and the third the geothermal
In her work Judy Natal (United States, 1953) focuses on
the landscape and the ways in which interventions are made
shown just how interconnected the biological, atmospheric
in it. She has published the books EarthWords (2004) and
and geological systems of the world are with one another,
Neon Boneyard Las Vegas A-Z (2006), and has been artist
she is chiefly interested in the question of where our
in residence at Biosphere 2. Presently Natal is professor of
knowledge of these systems, and with that our certain-
photography at Columbia College, Chicago.
ties, leave off. She made her images in the Mallee region of South Australia, where she grew up. They touch on the
Catherine Nelson Danube | 2012 Other Worlds | 2011-2012 Nuit Americaine | 2011
Stephanie Valentin (Australia, 1962) makes the changing
relations between nature, culture and technology central in
When Catherine Nelson began photographing, the feeling
her work, which is sometimes created in collaboration with
crept over her that the medium fell short of being able to
scientists. She received her Masters degree in Photomedia
get across her inner experience of the world around her.
from the College of Fine Arts of the University of New South
Thanks to her training as a painter and years of experience
Wales, in Sydney. Her work has often been shown, and has
in the film industry, where she had worked with the most
been published in Wired and Nature.
advanced digital effects, she was able to find new ways.
180 (left) Gathering field 2
From thousands of photos of a specific place she as-
sembles floating, transcendent and otherworldly appearing landscapes. 276
need to decipher our relation with the ecosystem and the
182 Marcel Wesdorp I Wish I Couldn’t Lie | 2005 Out of nothing | 2012
between words, mental images and photography. In the
With the aid of digital techniques, topography, cartography
and 3D software Marcel Wesdorp makes animated films
in Photographic Studies cum laude at the University of
and prints of digitally designed landscapes. They are the
Westminster in London. He won the jury prize of the Nikon
outcome of a lengthy process of calculation, and convey
Discovery Awards, and this year he competed for a Sony
the sense of landscape by means of undulating hills. Be-
World Photography Award. Presently he is artist in residence at
cause of the absence of people, animals or plants, but also
Kuandu Museum of Fine Arts in Taipei, Taiwan.
process he lays bare our ideas about what is natural and what is man-made. Ignasi Cunill (Spain, 1976) took a Master of Arts
because the green tints are converted into grey tones, we scapes that accentuate the insignificance of man.
190 Erwan Fichou Miradors | 2010
Photography is not so much a matter of recording
can imagine ourselves on the tundra or steppes – landMarcel Wesdorp (Netherlands, 1965) studied at the
Grafisch Lyceum and the Willem de Kooning Academy, both
reality, but rather creates a narrative framework in which
in Rotterdam, and took the post-graduate programme for
interaction and projection play a large role. We live in a
photography at the St. Joost Academy for Art and Design in
world of images, Fichou says, but these images precede
Breda. A central theme in Wesdorps’s work is his fascination
a supposed reality that we construct in our mind. For his
with the way in which people experience time.
series MIRADORS Fichou had trees along the streets of
Mexico City trimmed by nurserymen, after which he asked
people to climb into the trees to pose for the photos.
the urban jungle
Reality, or not?
Erwan Fichou (France, 1975) has shown his work at
186 Karin Borghouts Through the Looking Glass | 2001-2005
Rencontres Internationales de Photographie in Arles, the Centre
Strip away the backgrounds in zoos and amusement
has published work in Le Monde, Libération, Vice, and other
parks of people and animals, and what is left are artificial
periodicals. Fichou lives and works in Paris.
Atlantique de la Photographie in Brest, and other venues. He
reconstructions of wild nature. Just as a photograph memory of real nature, which we normally know only from
192 Eric Jan van de Geer Private Landscape II | 2009
photographs and films. By recording these backdrops
The photographer Eric Jan van de Geer is interested in
Karin Borghouts creates a memory of a memory. In doing
commonplace things that usually escape our notice. In
so, she poses questions about the nature of photography
PRIVATE LANDSCAPE II he recorded front gardens during
and our ideal images of nature.
the night hours. The photos are shot on landscape format
Polaroid film. This was not from nostalgic considerations,
is a memory of a moment, this fake nature is only a
Karin Borghouts (Belgium, 1959) was trained as a
painter and sculptor. She has worked as a graphic designer,
but for the restrictions that the material brings with it, which
and photographed, since 1999. In her work she focuses
force the artist to make hard choices.
on specific places: architectural spaces, zoos, parks and
amusement parks, museums and interiors. Her work is on
the Constantijn Huygens Hogeschool voor de Kunsten and
the boundary between the visual arts and photography, and
took the second phase curriculum in painting at the Frank
frequently refers to painting.
Mohr Institute in Groningen. In 2002 he was honoured at the
Eric Jan van de Geer (Netherlands, 1965) studied at
European Biënnale for the Graphic Arts in Brugge. Since 2008
188 Ignasi Cunill Urban Landscapes | 2010
he has been an instructor at the Willem de Kooning Academy in Rotterdam.
The way in which we see the landscape is to a great extent determined by the words that we use to describe it and the aesthetic values that we project on it. Ignasi Cunill sees the landscape not only as a physical fact, but also as a mirror of our soul. In photos of landscape elements in an urban environment, where our ideas about nature and culture encounter each other, he plays with the delicate balance
194 Kate Greene Anomalous Phenomena | 2011
Stefanie Zoche (West Germany, 1965) studied at the École des
Inspired by 19th century occult photography, the
worked together since 1998. They won a German prize for
Beaux Arts at Perpignan and Middlesex University. They have
symbolism of 17th century Dutch still-lifes, and the
photo books, and were nominated for the Prix Pictet.
obsessive character of botanical catalogues, Kate Greene
198-199 Palmeninsel II (palm island II)
photographs carefully constructed natural tableaux and the and time. She tries to build a bridge between the scientific
200 Knibbeler/Wetzer Typology | 2009-ongoing
perception of the physical world and the way in which
Although we continue to cherish a desire for wild nature,
people experience that world.
man has become used to the complete adaptation of the
natural environment to his wishes. Bonsai trees are on the
way that landscapes change under the influence of light
Kate Greene (United Sates, 1978) took her Masters in
photography in the art programme at America’s Yale University.
one hand an extreme form of control that is exercised over
Her work was seen at the New York Photo Festival and in a
nature, but behind the growing of bonsai lies a yearning for
number of galleries. She was Visiting Lecturer in Photography
knowledge of and contact with nature. In that sense they
at Humboldt State University in California.
are a metaphor for our search for a different relation with
194 Philodendron bipinnatifidum (Philodendron)
the natural environment.
195 Ficus benjamina (Ficus)
Sjoerd Knibbeler (Netherlands, 1981) and Rob
Wetzer (Netherlands, 1981) both studied photography at
196 Jonathan Groeneweg The Nature of Urbanity | 2012
the Hogeschool voor de Kunsten in Utrecht and the Royal
The garden is a metaphor for the ways in which people
awards at the Naarden Photo Festival; Wetzer in 2010 and
have freed themselves from the wilderness and began
Knibbeler in 2011.
Academy for the Fine Arts in The Hague. Both have received
shaping the world around them according to their own and controlled at a macro level, but no less chaotic at the
202 Christophe Maout Printemps | 2004-2010
level of the foliage – Jonathan Groeneweg touches on
Often the planting in an urban environment – the greenery
long-running discussions about the landscape and urban
in planters in front of a building, the trees along a road –
development. Our changing perception of nature has direct
has little more than a symbolic or decorative function. But
influence on the way in which we see ourselves, and the
in his series PRINTEMPS Christophe Maout has the plants
ways in which we deal with nature.
take centre stage. By using a very short depth of field, the
surroundings fall away and the cherry blossoms, irises
insights. With his aerial photos of gardens – mathematical
Jonathan Groeneweg (Canada, 1984) took his Bachelor
of Fine Arts cum laude in 2006 at the University of Calgary, and
and other plants become the stars. All the images were
his Masters in Documentary Media at Ryerson University in
made by Maout in Paris and its vicinity, without any digital
2012. As a photographer and as curator he was responsible for
a trio of exhibitions in Toronto in 2012. His dialectically coloured
work transforms the traditional relation between image, format
published in the French and international press, particularly with
and the photographic frame.
portraits and still-lifes. His work has appeared in shows at the
Christophe Maout (France, 1967) has frequently been
Nederlands Fotomuseum in Rotterdam and at Les Rencontres
198 Sabine Haubitz & Stefanie Zoche Tropical Island | 2004
Internationales de la Photographie in Arles, France. Since
In 2004 the Halle CargoLifter near Brandenburg was
2009 he has been writing a photo blog for the website of the
converted into an artificial tropical paradise with a rain Haubitz and Stefanie Zoche recorded the transformation,
204 Jamie Maxtone-Graham The Desiring Garden | 2011
so that one could see what elements are necessary to
Within the highly urbanized environment of Hanoi, Jamie
suggest a tropical setting. It's an illusion that demands a
Maxtone-Graham captures the reactions of people who
vast expenditure of energy.
encounter a staged garden full of flowers, fruit, vegetables
and animals that were bought in the markets of Vietnam’s
forest, swimming pools and a heated beach. Sabine
Sabine Haubitz (West Germany, 1959) won the Kodak
Prize for Young Photographers in 1988. and between 1984
capital. The result is a Rousseauesque game with our ideas
and 1992 studied at the Art Academies in Berlin and Munich.
of the exotic, in which the logic of the location, and the
photographic document itself, are undermined.
new career as a photographer and visual artist. Her work has
been shown in the National Portrait Gallery and York Art Gallery,
Jamie Maxtone-Graham (United States, 1957) has been
working as a cameraman for over 20 years, and since 1990
among other places. She is presently working on a doctorate in
has been recording the changing Vietnamese society in both
photography at the University of Plymouth.
documentaries and feature films. He was a Fulbright Research current Vietnamese youth culture. Presently Maxtone-Graham
210 Irina Rozovsky In Plain Air | 2011-ongoing
lives with his wife, the filmmaker Nguyen Trinh Thi, and their
When it was designed in 1867 Prospect Park, in the heart
daughter in Hanoi.
of Brooklyn, New York, was the first American public park,
Fellow in 2007, and received financing for a photo project on
accessible for all social classes. In her long-running project
206 Ardine Nelson Green Spaces | 2004-2009
IN PLAIN AIR Irina Rozovsky photographs the park so that
The series GREEN SPACES focuses on allotment gardens,
the function of the park as an oasis of peace in hectic
as these have developed in Germany, based on the
urban life, a place where people, albeit for only a short
theories of the German physician Moritz Schreber (1808-
time, can come in contact with nature and can experience
1861). Out of his concern for the health of urban dwellers,
private, transcendent moments.
Schreber advised that plots of land be reserved where city
folk could practise gardening. According to Schreber that
graduated cum laude in French and Spanish literature at Tufts
would not only provide healthy physical exercise, but also
University, Massachusetts, and took her Master of Fine Arts
supplement the food supply for their families. Nelson pho-
in photography at Massachusetts College of Arts. She has
tographed the gardens as individual private paradises.
frequently taught at American universities and the International
Center of Photography in New York, and published several
Ardine Nelson (United States, 1948) uses both traditional
and experimental photographic techniques in her work; years
the surrounding city is no longer visible. She underscores
Irina Rozovski (Soviet Union, 1981), now American,
photo books, including the monograph One to Nothing (2011).
ago she was one of the first to experiment with the Polaroid States and other countries, and she has received many
212 Traer Scott Natural History | 2009-2011
working grants. She is professor emeritus in the photography
During the summers when she was nine and ten, Traer
programme of the Department of Art at Ohio State University.
Scott spent her time in the local natural history museum.
Her mother worked there as a volunteer, and wanted to
process. Her work has often been exhibited in the United
(above) An dem Zschierbach II, Dresden 2004
206-207 (above) An Der Elche ,Dresden, 2007
save on the cost of child minders. Since that time Scott
(above) Ostra höhe, Dresden 2004
has cherished an enormous affection for everything that is
(below) Trachau, Dresden 2008
old and mysterious. In her series NATURAL HISTORY she
206-207 (below) Dresden 2004
brings the dead and the living – the collection and the often
young visitors – together.
(below) Trachau, Dresden 2008
Traer Scott (United States, 1973) has done the photo
208 Yan Preston Forest | 2011-ongoing
books Shelter Dogs (2006), Street Dogs (2007) and Wild
What is Utopia, and what does it cost to build it? FOREST
in magazines such as National Geographic, LIFE and Vogue,
shows how they are trying to construct a utopia from
and won the Helen Woodward Humane Award for her work
scratch in the Chinese city of Chongqing. The goal is a
on behalf of animal welfare. She teaches photography at the
model city incorporating five ‘ideals’. A woods is one of
Rhode Island School of Design.
Horses: Endangered Beauty (2008). She publishes frequently
them. But rather than planting trees and patiently waiting for them to grow, full-grown trees are being uprooted for a sort of prefab forest. The promise of a beautiful future is thus being realized through methods that strain the resources of both culture and nature.
Yan Preston (China, 1976), now British, was born in
Henan, China, lived for a long time in the county of Yorkshire, England, and worked for three years as an anaesthesiologist in Shanghai. When she returned to England in 2005 she began a
214 Andy Sewell The Heath | 2006-2010
Hampstead Heath was once part of London’s rural sur-
are stored like JPEGs. They are broken up and saved in
roundings. Today it is a green oasis in the midst of a busy
pieces, which are only put back together when they are
urban landscape. Andy Sewell regularly wanders in The
called up. The missing data is filled in by the brain. Kurt
Heath in search of nature, fully realizing that the area was
Tong took his pictures in a botanical garden, in a large
shaped, and is maintained by the hand of man. His series
format and under ever-changing lighting conditions. He ap-
THE HEATH is an investigation of what, precisely, nature is,
plied different techniques to destroy the information in the
but also of what the American biologist E.O. Wilson called
image, after which he scanned the images with scanners at
‘biophilia’ – the attraction you feel to the natural, without
different settings. Ultimately he assembled an image again
knowing exactly why.
from the results, in the same way that the memory makes a
complete image again from fragments.
The work of Andy Sewell (Great Britain, 1978) has been
Memories, Dreams; Interrupted | 2009-2010
Scientists have sometimes suggested that memories
included in the collections of the Victoria and Albert Museum and
the National Media Museum, among others, and was honoured
his Masters in photojournalism at the London College of
Kurt Tong (Hong Kong, 1977), a British citizen, took
with the Magenta Award. The Heath, his first photo book, was
Communication. He has received a number of honours,
included in various lists of important books of the year.
including from the Magenta Foundation and Hey Hot Shot. In 2011 he published the monograph In Case it Rains in Heaven.
216 Anastasia Taylor-Lind Gaza Zoos | 2009 It is ironic that a people who are confined themselves
220 Graeme Williams Objects of Reminiscence | 2009-2012
should confine and exhibit animals. The residents of Gaza
In name of progress short work is being made of the
are conscious of this irony. A zoo is a small prison, they
majestic African landscape and its wealth of animals. Like
say, and Gaza is a big zoo. Still, they do not identify with
some sort of half-baked monuments to the colour and
the animals, which have to do without names, and are
grandeur of Africa’s nature, everywhere in African cities one
often treated heartlessly. There are several zoos in Gaza,
finds kitschy replicas of wild trees and animals. Often they
but they are all money-losing propositions. The only one
are made in China. They are bitter compositions that are
who makes money on the zoos is the animal trader and
reminders of the lost relation between man and nature. The
smuggler Abu Nadal-Khalid, who for a substantial sum can
images were made in twelve different African countries.
get you any animal you want.
by Reuters in 1989 to record South Africa’s transition from
The Swedish/British Anastasia Taylor-Lind (Great
Britain, 1981) is a photojournalist connected with the VII Photo
apartheid to the ANC government. Since 1991 he has worked
Agency, with a special interest in the Middle East. Her work
for Afrapix. Several years later he was co-founder of the
has been shown in the Saatchi Gallery and the National Portrait
photo agency South Photographs. Among institutions which
Gallery in London. In 2010 she received the FNAC Grant for
have included his work in their permanent collections are
Photojournalism. Among her other achievements has been a
the Smithsonian, the South African National Gallery and the
Canon Young Photographers Award.
Apartheid Museum in Johannesburg.
216 Bird cages in animal-trader Abu Nadal’s office at his
220 (above) East London Airport departures hall.
home in Rafah.
South Africa, 2006.
217 Mahmod Berghote stands with one of Marah Zoo’s world
220 (below) The Capital City Motel in Lilongwe.
famous painted donkeys. The zoo’s two white donkeys caused
an international media frenzy when Mahmod and his brother first
221 (above) The guest lounge at The Lodge in Lilongwe.
spent three days painting stripes onto them using black hair dye.
Unable to find an animal trader to bring a real zebra through the
221 (below) A flower bed at the Hotel Zambeze in Tete.
tunnels from Egypt, the Bargote family decided to make a fake
pair using white donkeys. The story was reported all over the world as a feel good news piece and often used as an example of the Palestinian peoples resourcefulness during the siege of Gaza.
218 Kurt Tong 280
Graeme Williams (South Africa, 1961) was recruited
Malawi, 2009. Malawi, 2009. Mozambique, 2010.
untamed 224 Sonja Braas The Quiet of Dissolution | 2005-2010
228 Sumit Dayal Vanishing Islands | 2008 The Sundarbans, the largest mangrove swamps in the world
The phenomenon of a natural disaster can not be viewed
and a UNESCO World Heritage Site, are under threat from
apart from the presence of people. The destructive forces
rising sea levels. Sumit Dayal photographed the inhabitants
inherent in nature are essential for the development and
of this area, who are being forced to move inland because
evolution of the landscape, while man has a vital interest in
their islands are being swallowed by the water. Four islands
controlling nature and bending it to his will. The images of
have disappeared into the sea in the last quarter century,
THE QUIET OF DISSOLUTION, staged by Braas in her stu-
leaving 6000 families homeless. Other islands, including Sa-
dio, deal with this contradiction, placing culture and order
gar, the largest island, are rapidly seeing their size decrease.
over against nature and chaos.
in Nepal, and graduated from the University of Delhi. In 2006
Sonja Braas (West Germany, 1968) studied visual
Sumit Dayal (India, 1981) was born in Kashmir, grew up
communication and other subjects at the Fachhochschule
he successfully completed the course in Documentary & Photo
Dortmund, and (with the aid of a Fulbright grant) at the School of
Journalism at the International Center of Photography in New
Visual Arts in New York. She lived by turns in Germany, Australia
York. In his work he focuses on the changing landscape and
and the United States, and has been the recipient of awards
disappearing cultures of South East Asia. In 2010 the American
including the Rheinhard Wolf Prize, the FOCUS Prize and the
photo magazine PDN included his name on their list of 30 Emerg-
Kodak Prize for Young Artists.
ing Photographers to Watch.
224-225 Blizzard 225 (right) Storm
226 Alejandro Chaskielberg Turkana | 2011
230 James Whitlow Delano Living with volcanos: Giving Life and Taking It | 2010 Volcanos have two faces. Eruptions bring death and
In the second half of 2011 the Horn of Africa was faced
destruction, as seen in 2010 when Mount Merapi in
with the most serious food crisis yet this century: twelve
Indonesia claimed 324 lives during the worst eruption in a
million people did not have enough food, potable water,
century. But at the same time volcanic soil provides a wealth
and sanitary provisions. Alejandro Chaskielberg went to the
of minerals that are necessary for agriculture. It is from that
province of Turkana in Kenya, a sparsely populated region
fact that volcanos encouraged the rise of kingdoms, such
where poor cattle farmers seek to live off land that that is
as the Majapahit empire on Java. Living around volcanos is
absolutely unsuited for agriculture. He recorded the strength
a constant process of give and take.
and persistence of a people who are constantly struggling
with recalcitrant nature. Chaskielberg made his series in
in Asia for 18 years now. With Tokyo as his base, he works
cooperation with OxfamNovib.
on long-term projects on human rights, the environment
and cultural developments. His work has earned him prizes,
Alejandro Chaskielberg (Argentina, 1977) began his
James Whitlow Delano (United States, 1960) has lived
career as a photojournalist for various local newspapers and
including the PX3 Gold Award and the Award of Excellence from
magazines. After studying industrial design and photography, in
Communication Arts magazine. Delano has published several
2000 he became director of photography at the National Film
books, including Empire, Impressions from China and his recent
Institute in Buenos Aires. These duties have in no way reduced
iPad book Black Tsunami. He is presently involved with the
Chaskielbergâ€™s output as a photographer and documentarist.
Noorderlicht project The Sweet and Sour Story of Sugar.
He is presently involved with the Noorderlicht project The Sweet
230-231 A rice farmer watches the biggest eruption of the
and Sour Story of Sugar. His first monograph, La Creciente,
Merapi volcano in over a century. The death toll has
appeared recently. 226-227 The Dreaming Family. Elisabeth Ekatapan and her family
risen to 324 people. Muntilan, Java, Indonesia. 231
(above) Women doing the laundry in a river that has
sleep under the stars in Northern Turkana. Because of
been silted up with volcanic ash. At the same place the
the continuous droughts that affect the region her herd
ash has weighed down lush tropical foliage almost like a heavy spring snowfall. Muntilan, Java, Indonesia.
of 55 goats has died, cutting off her main source of income.
(below) A woman enters her home which withstood the weight of the volcanic ash. The breadfruit tree in front of the house has collapsed and been severely damaged by the accumulated ash. Along the highway from Yogyakarta to Magelang, Java, Indonesia.
232 Nigel Dickinson French Forests after the Great Storms | 2000-2005
236 Michel Huneault Water Memories | 2011
In December, 1999, two massive storms raced across
in Quebec are at risk of flooding. In 2011 it was the turn of
France, that destroyed 8 percent of its woodlands. Woods
Venise-en-Québec, which lies on the banks of Lake Cham-
which were planted and managed by man were relatively
plain. More than three thousand homes and businesses
harder hit. A year later Nigel Dickinson photographed the
were damaged, and over a thousand residents had to be
damage. Five years later he once again photographed the
evacuated. The diptychs of WATER MEMORIES show the
woods, to record the differences in the recovery of the
extent of the flooding, and the clean-up which followed.
woodlands that were being permitted to restore themselves
The core of the problem is the ambivalent relationship
naturally and those where human interventions were being
between man and water, Huneault says. Water attracts
made to encourage their recovery.
us, but at the same time remains an unpredictable force of
In his work Nigel Dickinson (Great Britain, 1959) focuses
Each spring, as the snow melts, many villages and cities
on the human environment, marginalized communities, identity,
and culture. He has worked on series on apartheid in South
while he was a development worker and on peace missions.
Africa, the miners’ strikes of the 1980s, deforestation and the
He studied with the Magnum photographer Gilles Peress, and
Roma. He won a World Press Photo Award, the W. Eugene
since 2006 has devoted himself entirely to photography. In his
Smith Award and the UK Press Photographers award for 2008.
own country he won several LUX/CAPIC prizes, and in 2010
He received the Critical Mass 2011 Solo Exhibition Award for
received the British FOTO8 Award. His work is rooted in both
his series Smokey Mountain.
the documentary and humanist traditions in photography.
234 Wyatt Gallery Tent Life: Haiti | 2010
238 Massimo Mastrorillo Temporary? Landscape | 2009-2012
Two months after the disastrous earthquake that struck
On the 6th of April 2009 the historical centre of the Italian
Haiti on 12 January. 2010, Wyatt Gallery went to Port-
town of L'Aquila was severely damaged by an earthquake.
au-Prince with five fellow artists to do volunteer work and
In his work, which deals with L’Aquila and the consequenc-
record the consequences of the disaster. What impressed
es of the earthquake, Massimo Mastrorillo shows us how
him was the resilience of the people. Seven months later
the landscape constantly changes in an emergency situ-
he returned to photograph life in the gigantic tent camps
ation, without any serious long-term planning lying behind
– cities in themselves. He did portraits of the people there
its evolution. Frozen in images these temporary landscapes
who, thanks to their inner strength, were able to keep go-
ing in the midst of a humanitarian crisis.
European Institute for Design in Rome. He works chiefly on
Wyatt Gallery (United States, 1975) was included in
Michel Huneault (Canada, 1976) began to photograph
Massimo Mastrorillo (Italy, 1961) graduated from the
the list of the thirty best photographers under the age of thirty
long-running documentary projects on the consequences
published by the American professional photo magazine
of wars and natural disasters. He has worked together with
Photo District News. He studied at NYU’s Tisch School of the
Médecins Sans Frontièrs and has received, among other
Arts, and received a Daniel Rosenberg Grant and a Fulbright
distinctions, a World Press Photo award, the Picture of the Year,
Fellowship to photograph religious sites in the Caribbean
a Lucie Award and a Sony World Photography Award. Recently,
region. His work is included in the permanent collection of the
together with the photographer Donald Weber and writer Larry
Museum of Fine Arts in Houston, Texas.
Frolick, he organized the collective MASTODON.
240 Katsumi Omori Everything Happens for the First Time | 2011
246 S. Gayle Stevens Pass | 2009-2011
One of the central events each spring in Japan is hanami,
In English, ‘to pass’ can mean ‘to go by’, or ‘to die’ or ‘to
the brief period when the cherry trees blossom. Katsumi
go from one state to another’. Pass Christian was also the
Omori has captured that event for the last decade. It was
name of an artists’ colony in Mississippi that was destroyed
obvious that in the spring of 2011, after the earthquake,
by the furious waters during Hurricane Katrina. Only 500 of
tsunami and nuclear incident, he would go from Tokyo in
the 8000 houses survived the disaster, and many residents
the direction of the disaster-struck Fukushima in search of
never returned. In PASS S. Gayle Stevens records the ruins
the blossoms. His images contain suggestions of things
of the artists’ village in small, intimate images, shot with a
that people can not see, but which ares nonetheless pres-
ent: anxiety, radiation and hope for the future.
Master of Fine Arts from the Art Institute of Chicago. Critical
Katsumi Omori (Japan, 1963) has published many photo
S. Gayle Stevens (United States, 1955) received her
books, including Salsa Gum Tape (1998), Encounter (2005),
Mass proclaimed her one of the 50 best photographers of
Incarnation (2010) and Bonjour (2010). In 1994 jury members
2010, and she is a member of the photo collective When Pigs
Robert Frank and Kotaro Iizawa honoured him with the
Fly. She works chiefly with the collodion wet plate process,
Excellence Award in the New Cosmos of Photography.
today an individualistic technique involving coating and exposing wet glass negatives that goes back to the earliest
242 Miti Ruangkritya Imagining Flood | 2011
years of photography.
Last year the Thai capital Bangkok was struck by severe
247 Pool, Cedar Avenu, 2009
246 Foundations, Cedar Avenue and Fir, 2009
floods. The series IMAGINING FLOOD is an attempt to capture the threat of the water and the surreal side of the disaster in photos which come across as dreamy and unworldly. For his purposes Miti Ruangkritya chose to photograph at night or in the early morning, when the water exuded a certain serenity which in fact intensified rather than reduced the fear, and the often anxious expectation.
Miti Ruangkritya (Thailand, 1981) studied
photojournalism at the University of Westminster in England, after which he became an assistant to the Magnum photographer Antoine d’Agata. In 2011 and 2012 he was honoured with the Magenta Flash Forward – Emerging Photographers award, and in 2012 also received the Prix de la Photographie. He lives and works in Bangkok.
244 Protick Sarker Of River and Lost Lands | 2011-2012 The river gives and takes. When the monsoon comes, it swells and swallows whole villages. Anything and everything is carried away with it – from gigantic, holy trees to ordinary garbage. Protick Sarker investigates life along the river, life that is totally dependent on the water, but is equally threatened by it.
Protick Sarker (Bangladesh, 1986) studied photography
at Pathshala, the South Asian Media Academy. After participating in various workshops with famous photographers like Munem Wasif, Laurence Leblanc and Abir Abdullah, in 2010 he received a grant from the American State Department to study at the University of Virginia. He has also taken the documentary photography programme at the University van Gloucestershire in England. 283
soul of things, Hongxun Gao says. For LOOKING ON he
248 Alfred Dong (Curator) the harmony between man and heaven – experimental landscape from china
made a selection of his best recent work.
Landscape photography has traditionally been very popu-
Pingdingshan. He is co-chairman of both the Pingdingshan City
lar in China, but it is a métier that normally follows well-
Photographers Association and the Pingdingshan City Artistic
trodden paths. The history of Chinese landscape art, with
Photography Society. His work has been shown frequently, both
its imperative compositions and deep respect for nature,
in China and elsewhere, and has appeared in periodicals like
hangs like a shadow over photography. In the experimen-
China Photography and Chinese Photographer.
Hongxun Gao (China, 1970) works for the publicity
department of the Weidong district in the Chinese city
tal photography that Alfred Dong collected this tradition friction between tradition and modernity, and a sense of
254 Peiquan Wang Artificial Beauty | 2011
loss and confusion, are central elements. The title refers to
It is a bitter truth, Peiquan Wang observes: we are disgusted
a quote from Lao Tzu, who thought that human alterations
by garbage, but we keep on producing it all the time. By pho-
in the landscape disturbed the natural harmony between
tographing the beauty of garbage, he tries to let us see it in a
heaven and earth.
different way. Here and there he encounters trees that have
been adorned with plastic bags and other trash. In his photos
is twisted, or trampled underfoot. It is work in which the
Alfred Dong (China, 1984) is guest director of International
Exhibitions at China Lishui Museum of Photography. The
they becomes the flowers in an artificial landscape.
exhibition is supported and organized by the Museum and
Lishui International Photography Festival. In his still brief career,
Lishui International Photography Festival. He has shown his work
Alfred Dong has already curated a handful of highly important
in Houston, Antwerp, and China.
Peiquan Wang (China, 1970) is the artistic director of the
exhibitions, including The Sound of China: China’s Video Art, photographer he has shown his own work, in solo and group
256 Weixing Fu In The Name of Mountain and River | 2010
exhibitions, in Florence, Barcelona, New York, Shanghai, and
Any marriage between tradition and modernity is doomed to
failure, says Weixing Fu. In his bonsai-like reproductions of
in Milan, and China’s Face, for the Athens Photo Festival. As a
traditional landscapes he makes use of industrial and other
250 Chaosheng Lu The Lost Way | 2011
modern elements, such as a shearlegs or an electrical cable.
We are only passing through this world, says Chaosheng Lu.
Photographers’ Association. His work has been seen in several
We search for a place of our own, but for the most part lack
large Chinese photo festivals, including the Lishui International
direction. His apparently faulty, often blurred photos are the
Photography Festival and the Lianzhou Photography Festival.
Weixing Fu (China, 1973) is a member of the Chinese
translation of the confusion that he feels. He identifies with future, but I can not find my way out.’ Ultimately, says Lu, he
258 Weixing Zhang The Mausoleum of the Song Dynasty | 2011
is still a little lost boy.
The Song dynasty mausoleum is one of the most photo-
graphed structures in China. Most of the photos use the
the famous lament, ‘like a fly behind a window, I can see the
Chaosheng Lu (China, 1965) began photographing in 2004
and contributed to the Lishui International Photographic Exhibition
same straightforward visual language, and testify to respect
as both a photographer and curator. Since 2010 he has been
and honour for nature and history. How could you capture
making photos with pinhole cameras, which have been published
the mausoleum in a fresh, new way? Zhang Weixing chose
in LIFE, Shanghai Photography and other journals.
an approach that resulted in experimental black and white photos which appear to be hand made rather than the prod-
252 Hongxun Gao Looking On | 2011
uct of technical means. The work seems to carry an implicit
By their circular form, the photos in LOOKING ON suggest a
concentrated focus, especially on small things: birds among
branches, a reflection in a window pane, a salamander under
the Henan Museum in the Chinese metropolis of Zhengzhou,
water, the extreme tip of a mountain. By focusing one’s gaze
and during the Pingyao International Photographic Exhibition. In
this way, that which is far away becomes closer, and that
addition he has contributed to many group exhibitions, particularly
which is small becomes greater. Only then can you feel the
in Zhengzhou, but also in Beijing and Shanghai.
critique of the way in which current generations deal with Weixing Zhang (China, 1963) has had solo exhibitions in
This book accompanies Terra Cognita, main exhibition of the Noorderlicht International Photofestival 2012, September 2 through October 7, 2012 in the province of Friesland, the Netherlands. Venues: Museum Belvédère | Heerenveen, Museum Dr8888 | Drachten, Museum Willem van Haren | Heerenveen and Blokhuispoort | Leeuwarden Work from all participating photographers is included. The Noorderlicht International Photofestival is organized by Stichting Fotografie Noorderlicht | Noorderlicht Photography Foundation. Staff: Ton Broekhuis | director Wim Melis | curator Irene Kromhout | coordination festival and offices Olaf Veenstra | coordination gallery Charissa Caron | press and publicity Geert Kliphuis | digital processing Richard Hofman | financial administration Els Wirix | financial administration Heleen van Dijk | office The Noorderlicht team is completed throughout the year by: Ype van Gorkum & Maria Merino Aranguren, Zwaar Duwen | exhibition coordination Marco Wiegers, Archangel | exhibition coordination and design Sjors Swierstra | projects Marieke van der Velden | projects Auke Hulst | texts Dirk de Jong, Studio-D2 vormgeving | graphic design Hans Miedema, m;v ontwerper’s BNO | graphic design Hanneke Moed | education Regina Broersma | gallery desk and crew coordination Sipke Veenstra | office and DTP Suzanne Bodde, Maarten de Kok, Victor van Loon, Maaike Pomstra-van de Scheur en Margriet van Weenen | gallery crew For the festival 2012 we were reinforced by: Janco van Barneveld | exhibition design Arnoud Bakker | assistant digital editing Bert Platzer | text editing Moniek Baars and Mireille de Jong | marketing Maarten de Kok | production assistance Victor van Loon | production assistance Margriet van Weenen | production assistance
On the board are: Arie Wink | chairman Bas-Wouter Littel | treasurer Wim van de Pol | secretary Henk Heethuis Tjalle Hidma Rimmer Mulder Pieter Tuinman Jan Geert Vierkant Noorderlicht is supported by: Ministerie van OCW Gemeente Groningen Provincie Groningen Provincie Fryslân Gemeente Leeuwarden Media partner: Vrij Nederland For their close cooperation and excellent work Noorderlicht thanks: Drukkerij Tienkamp, Groningen Beikes & Van Vliet Lijstenmakers, Groningen Boekhandel Godert Walter, Groningen For their hospitable cooperation Noorderlicht thanks: Museum Belvédère, Oranjewoud Museum Dr8888, Drachten Museum Willem van Haren, Heerenveen Blokhuispoort, Leeuwarden Stichting Alde Fryske Tsjerken, Leeuwarden Kerken Haskerdijken, Kortezwaag, Rottevalle, Schurega, Terband, Ter Idzard We also wish to thank all those who made an effort to support us in our fight to stay alive. We especially want to name Lars Boering, Anton Brand, Marc Prüst, Nynke Stellingsma and, for their support publication, the participants of the Noorderlicht Masterclass season 2011-2012: Anne Ackermann, Nana Kofi Acquah, Tessa Bunney, Juliane Hermann, Cornelie de Jong, Bas Jongerius, Dolph Kessler, Maarten de Kok, Mark Nozeman, George Philipas, Ronny Rozenberg, Corné Sparidaens, Christine Urdal, Andre Vieira, Marieke ten Wolde.
Terra Cognita is een fotografietentoonstelling over de relatie tussen mens en natuur. Hoe ervaren wij de natuur en wat is de waarde ervan? Tegenover het romantische verlangen naar pure natuur staat de praktische wens de wereld te cultiveren en te bedwingen. Terra Cognita toont natuur ver weg en dichtbij, als droom en als werkelijkheid, de natuur in onze genen en gedachten. Voor deze negentiende editie van de Noorderlicht Fotomanifestatie is werk geselecteerd van 115 fotografen uit de hele wereld. De fotografie is divers en genre-overstijgend. Documentair of geĂŤnsceneerd, de natuur blijkt voor fotografen een springlevende inspiratiebron. Hun beeldverhalen nemen ons mee op reis door een fantastische wereld.
Terra Cognita is a photography exhibition about the relation between man and nature. How do we experience nature, and what is its value for us? Our romantic longing for pure nature is diametrically opposed to the practical desire to control the world and cultivate it. Terra Cognita looks at nature far away and close by, as a dream and as reality, nature in our genes, and in our minds. Work by 115 photographers from all over the world has been selected for the 19th edition of the Noorderlicht Photofestival. The photography is diverse, and flows across the limits of genres. Whether the work is documentary or staged, nature appears to be a vital source of inspiration for photographers. Their visual statements take us along on a journey through a fantastic world.
Catalogue 19th edition Noorderlicht International Photofestival Terra Cognita. Work by 115 photographers about mans relationship with nature...
Published on Aug 31, 2012
Catalogue 19th edition Noorderlicht International Photofestival Terra Cognita. Work by 115 photographers about mans relationship with nature...