REDBIRD P h o t o g r a p h y
M a g a z i n e
EDITORIAL NOTE Dries Bos
‘REDBIRD EDITIONS IS A CREATIVE INFRASTRUCTURE THAT ENABLES PHOTOGRAPHERS TO REACH A GLOBAL AUDIENCE’
“Democratic People’s Republic of Korea”
DEMOCRATIC PEOPLE’S REPUBLIC OF KOREA There are many truths in North Korea: not in the murky post-modern sense that there are no facts to be shown, but because of the severe limitations on what one is, literally and prosaically, allowed to see. So, how can representations of grandiose decoys, representations whose very angle seems constrained by secretive officialdom, fulfill our longing for a glance at the horrors of a totalitarian regime? Thruthfulness is what one expects from photographs about North Korea. Should we not rather prefer a furtive glimpse of the terror unfolding behind the scenes? We should not. Catching from the corner of the eye the sight of what might be a hungry child is not necessary to understand the madness of the regime. The few people in the surrounding emptiness give the scale of the buildings; the sober explanations, provided by the regime itself, give the scale of the folly. We do not need to be told that the cooperative shop is not available to a starving population: one should be scared of a regime that builds to fool visitors. What Maxime Delvaux’s photos show is very real. Sufficiently real, indeed, to gently distillate a disturbing feeling, where the nauseating vertigo of some of the Borges’ Fictions mixes up with a genuinely Orwellian fear. Social psychologists recently found that Western educated people tend to underestimate the extent to which they are influenced by irrational conspiracy theories. Propaganda works insidiously, or else it would be useless. So, if at first you only feel slightly amused, if it takes you a while to understand what it means for a country to display this, it’s all right. This is what these photos are for. Essay by Mikhail Kissine
ADAM NEESE. A known place.
“TO THE OBSERVANT WANDERING CHILD, THE L IS A PLACE OF
A KNOWN WORLD is about remembrance. To the observant wandering child, the landscape is a place of fantasy and fame. With this naive view, the size of the world is scaled down; a field, a stand of trees, or an old road can hold the magic and possibility of the American West in nineteenth century frontier days. When growing up our experience of time and space change, but through the fond memories we keep, the places where we lived and frolicked as kids still seem to hold the same mystique and wonder.
ANDSCAPE FANTASY AND FAMEâ€?
ADAM NEESE grew up in Cross Timbers, TX. He has been revisiting and picturing this landscape to compile and archive the memories of his past. Much like childhood expeditions in The Caprican Empire, he has made these photographs with a creative sense of discovery. The major difference this time is that he has created photographs rather than memories, the discoveries have occurred inside of himself. These photographs and maps serve as documents of his personal history; a meaningful childhood remembered.
5 SERIES of FIVE.
Good River - USA For a time the Ohio River Valley was the backbone of the United States. But those times are long gone. The river is now lined with eerie towns and massive power plants. A document is needed to preserve the people
Grid - The Netherlands We intersect and dissect our landscapes with lines, grids and flat graphical planes. Itâ€™s what we call architecture. Cut out by the camera these geometric forms become abstract, in complete juxtaposition with their natural surroundings.
The Tiroler Mountains - Austria â€œMan created ways to tame nature, make it accessible and enjoyable. The sublime has become a commodity. Rising peaks and roaring depths have lost most of their awe and terror to glass facadesd,boardwalks and partitions.â€?
Incidental View - United Kingdom Re-examine the commonplace. Confront and question the monotonous. Celebrate the incongruous marriage of perceived isolation with an overriding sense of wonderment. What you will find is a subtle disquiet in beauty, mortality and humour.
City Scapes - The Netherlands The uncomprimising growth of megapolises gives rise to a surreal, artificial atmosphere. When the nocturnal hustle of its inhabitants begins, a sense of timelessness and - paradoxically - unmistakable loneliness takes hold.
CODY COBB Monuments.
“BEING ISOLATED IN THESE IMMENSE SPACES DISTORTS ANY SENSE OF TIME, SPACE AND THE SELF” MONUMENTS is an ongoing project documenting the Earth’s surface and atmosphere as it folds, condenses and erodes in the visible spectrum. These observations were made while roaming the landscapes of the American West in search of seemingly untouched nature. With careful compositions and subtle alignments of fractal geometry, these natural formations become exotic, romantic, mysterious. Eventhough a mere optical illusion - it is one that can transport its viewer to an alternate dimension. Being isolated in these immense spaces distorts any sense of time, space and self. It challenges the perceptions of what it means to be human and of what our own relationship with nature is. CODY COBB is currently based in Seattle, Washington. Cobb is a nomadic photographer, scouring the United States in search of the realistic landscapes. His photography attempts to capture portraits of the Earth’s surface, devoid of human interaction and interference. His work has been compared with the master painters of the Hudson River School. “If the Earth where a canvas, Cobb’s photographic skills would most certainly be the paint and the brushstroke.” (Taylor Curry – Aint-Bad Magazine)
FOUNDER Dries Bos DESIGN Maaike Bles EDITOR Philip Montnor PHOTOGRAPHERS Adam Neese Andy Feltham Ari Gabel Cody Cobb Marcus Koppen Maxime Delvaux Paul Cupido Sebastian Reiser CONTACT email@example.com www.redbirdeditions.com
REDBIRD EDITION I s s u e one