18 April 2014
You can also see ‘The Birdhouse’ on Ken Grant’s website: www.ken-grant.info
27 March 2014
Words by Ricardo Cases extracted from an email exchange about the project ‘La Caza Del Lobo Congelado’:
“Working on ‘La Caza Del Lobo Congelado’ was an emotional cocktail. Until then all my work had been made in urban areas. It was the first time that I photographed in a natural setting. It was interesting and encouraging to see how the photographs looked in this new environment, the colours were crazy! It was also an exotic experience because I had never been on a hunt and I did not know what the role was of dogs in this game.”
“Maybe this photograph, out of all of them from the project has been the one that has raised the most interest from the people who have viewed it, because it’s hard to determine if there is a problem with the animal or not. The dog looks happy but his face is covered in blood. I always think about this photograph when I question my role in this context.”
“I love my dog Quatre, I spend all day with him. I often take him to work but I don’t consider him a working dog, rather a hedonistic dog! Jokes aside, I think the relationship with dogs changes substantially when you’re with a working dog. This can be understood by their more independent character.”
To see more photographs from ‘La Caza Del Lobo Congelado’ please visit Ricardo Cases’ website on www.ricardocases.es
19 March 2014
Marta Giaccone’s website: martagiaccone.com
01 March 2014
Words by Laura Parker extracted from an email exchange about her work:
- ‘Canyon Suite’ is a single piece of work composed of four separate photographs printed from negatives, all floating on different planes (each photograph is mounted on aluminium and the whole is held together by a hidden substructure). In addition to being photographic, the work is sculptural, as it has physical depth.
- I have been hiking at a place called Eaton Canyon for most of my life, (I love hiking and the local mountains I grew up with; my husband and I actually just recently moved to the canyon’s edge!), so I titled the piece ‘Canyon Suite’, as it is very much about this particular place that has been so important to me; a sort of refuge from the rest of Los Angeles. Also, both a canyon and a knife have an edge, no matter how blunted, and I am indeed interested in the dangers of the everyday.
- The knife reflections was an accidental discovery made during a breakfast I was having outdoors. I saw the oak tree above reflected in my knife and forgot about breakfast! It created an interesting perceptual rift due to the double plane of focus: the knife-on-the-table itself, and the reflection coming from far away.
- A significant amount of my work has originated in and around the use of household objects: from the burners of a stove, to pot bottoms, to all sorts of cast-off domestic materials. I would say I am interested in the dangers (knives, burners, electrical appliances) and subversions of domesticity… (I really resonate with some of Mona Hatoum’s sculptural installations) but I am also interested in having something utterly mundane trigger a transcendent experience.
- I am interested in working with issues of perception and exploring ‘thresholds of visual legibility’. The writer Buzz Spector once wrote that I had “conjured up a kind of photogrammar that encourages viewers to read the process through the image. So everything from my ‘Rubbings’ to ‘Knife Reflections’ (going all the way back to ‘Prime’, 1992) plays with ways that a photograph can become a highly ambiguous object. It’s both about the nature of surface and the push/pull between two and three dimensionality.
- Also, there is an undercurrent of being obsessed with the elements of nature in all of my work. It affords us a more primal reference point that challenges the linearity of language and other human constructs.
Laura Parker lives and works in California. Laura’s career spans more than three decades and her work has been widely exhibited. To see more work made by Laura Parker please visit her website: lauraparker.com
15 February 2014
Please visit Julie Fischer’s website: www.juliefischer.fr
01 February 2014 . Written by Tristan Hooper
The Congo has long been in the public eye. For many years, the mainstream media has spread images of genocide, famine and human rights violations to audiences the world over. Yet, despite the extent of reportage, the situation in the Congo endures as being somewhat enigmatic.
Driven to explore some of its hidden mysteries, Irish photographer Richard Mosse took the opportunity to make a number of trips to the country. Over a three-year period he captured the Congolese and the vast landscape that they inhabit. But whilst Mosse’s pictures could certainly be described as war photographs, they are rather unlike what one usually sees in contemporary conflict photography.
Mosse elected to make use of a discontinued form of infrared film for his work in Infra. Originally designed for use in aerial surveillance by the military, this specialised film was made to render camouflage useless. Natural vegetation and foliage – normally visible to the human eye in various shades of luscious green – are instead depicted in tones of magenta, verging on the psychedelic. The overall effect is quite startling; the images are both striking and curious.
These large-scale landscape photographs depict the region in a way that one feels to be looking upon some kind of alien terrain. A facile interpretation could perhaps relate the colour to that of a landscape stained with the bloodshed resulting from years of conflict. But perhaps we should look beyond the obvious and consider the more subtle possibilities inherent in Mosse’s Infra.
His decision to use this particular film is of real interest – not only because of its unique effect, but also because of its original intended purpose: designed to make the invisible visible, to show what is normally obscured and hidden from view. In employing this military technology, Mosse is perhaps attempting to peel away some of the ambiguity surrounding the region and its troubled history – in turn helping us to view the Congo differently.
The strange colour palette coerces the viewer into pondering the natural landscape – it places emphasis on the topography and fertile nature of the country. An interesting perspective as the Congo is home to an incredible glut of precious natural resources, attributes arguably at the root of the country’s problems. Despite the vast quantities of uranium, rubber and copper present in the region – providing the possibility of establishing the Congo as one of the world’s wealthiest nations – these reserves have only contributed to the state of unbalance.
Another captivating aspect is how many of the photographs depicting people within the landscape seem to perpetuate a divide between the inhabitants and the land. Often the Congolese appear at odds with the landscape, almost as if superimposed upon it.
Infra represents a potent and pronounced departure from the norms of photography concerned with war. It has often been commented that war photographs have contributed to what is known as ‘compassion fatigue’. Pictures depicting the horrors of conflict are so readily available that people have ceased to be affected by them. We are all only too familiar with the black and white reportage spawned from the Vietnam War, and more recent colour photographs from the Gulf and Afghanistan.
Mosse’s photographs demand attention; they show us something new, something to arouse our curiosity.
29 July 2013 . Written by João Bento
“The animal body, the animal voice, the animal gaze and the animal trace are, in contemporary art, all new questioning entities. But what questions do they pose? Upon witnessing this animal invasion, one may ask: why now?”
- Giovanni Aloi, ‘Art & Animals’, 2012
‘Pets’ is the most recent book by Portuguese photographer Valter Vinagre. Inside the book you will find thirteen, square format, black and white photographs showing taxidermied wild animals, all animals commonly found in the Portuguese fauna. These stuffed animals were photographed in a variety of domestic interiors – therefore their ‘new natural environments’ – surrounded by pieces of furniture and personal belongings.
Valter Vinagre has used flash to illuminate these scenes. This use of light, often associated with the use of black and white film, creates a dramatic effect in the images. The play between intense bright light and deep shadows makes the stuffed animals look scary – they seem to have come back to life to claim something from us. Some of these creature are endangered species – maybe we should pay more attention to that..?
One of photographs shows a pheasant placed next to several objects with the emblem of Benfica (the famous Portuguese football club) that uses the American golden eagle as its symbol. The pheasant sits on top of a shelf while the Benfica paraphernalia stays underneath. One can imagine that the owner of these objects is a fanatic supporter of Benfica – but he is even more proud of his hunting skills. In this case, the pheasant rules over the golden eagle.
The relationship between the Portuguese and their wildlife is not an easy one – maybe like in all the other countries of the world. The people that live in the rural areas seem to be more aware of, and understand, the animals that surround them. By opposition, the majority of the population living in the urban areas is suffocating due to economic pressures and is too overwhelmed to think about the sustainability of nature. It might be that, one day, the animals that Valter Vinagre photographed will only exist in taxidermied form, which is a shame.
24 July 2013 . Written by João Bento
Sarah Laure Engelhard is a Dutch photographer and marine biologist. As a photographer she works on self initiated projects. Most of her work is drawn from nature, such as the projects ‘Still Wild’ (2008 – 2009) which shows “wild animals that died in the city of Amsterdam by human intervention” and ‘Rest’ (2009), depicting a series of manmade objects that were left behind in nature. In most of her work she applies a fixed photographic strategy that makes it possible to observe the development of, and small differences between, objects or situations. Currently Sarah lives at the Gold Coast, Australia and is a PhD student at the Griffith University.
We were impressed with Sarah’s project ‘Plastic Drift’ (2009 – 2010). ‘Plastic Drift’, she tells us, shows “objects that had been drifting in the ocean but were collected from the beach. The objects were taken into the sea again and photographed at a depth of 6 to 9 meters.” One of the objects from ‘Plastic Drift’ made us think of a spaceship flying through space! We asked her if she knew what the object was: “the object is a broken plastic ‘mandibak’, the name for some sort of a plastic ‘pan’ that is used in Indonesia in the bathroom to throw water over your body instead of a shower.” In the same photograph we can see two species of fish and the organisms in the background are corals and a type of sponge. The little shiny dots are particles in the water (sand, organic material, plankton) that reflect the sunlight.
We wondered if the image could be judged in the context of scientific work. Sarah explained that her photographs “do not supply data that can be used to measure anything or compare something scientifically and are, therefore, useless for any research purposes. In that sense they are solely visual.” In the course of describing her work, Sarah added, “I don’t think my images have a clear message. I am mainly fascinated by the impact human beings have on their surroundings and the way they always mark their presence with litter, but I think my images do not activate or explain enough to make people change their behaviour.”
Asked about her influences, Sarah explained, “a photographic project related to aquatic life that I really like is the seascapes taken of cities from the water level by the Japanese photographer Asako Narahashi. Another of my favourite works of art is the book and series ‘Another Water’ by Roni Horn.”
Please visit Sarah Laure Engelhard’s website to see more photographs from ‘Plastic Drift’: sarahengelhard.com
02 July 2013 . Posted by João Bento
“The boy was in the hallway drinking a glass of tea
From the other end of the hallway a rhythm was generating
Another boy was sliding up the hallway
He merged perfectly with the hallway,
He merged perfectly, the mirror in the hallway
The boy looked at Johnny, Johnny wanted to run,
but the movie kept moving as planned
The boy took Johnny, he pushed him against the locker,
He drove it in, he drove it home, he drove it deep in Johnny
The boy disappeared, Johnny fell on his knees,
started crashing his head against the locker,
started crashing his head against the locker,
started laughing hysterically
When suddenly Johnny gets the feeling he’s being surrounded by
horses, horses, horses, horses
coming in in all directions
white shining silver studs with their nose in flames,
He saw horses, horses, horses, horses, horses, horses, horses, horses.
Do you know how to pony like bony maroney
Do you know how to twist, well it goes like this, it goes like this
Baby mash potato, do the alligator, do the alligator
And you twist the twister like your baby sister
I want your baby sister, give me your baby sister, dig your baby sister
Rise up on her knees, do the sweet pea, do the sweet pee pee,
Roll down on her back, got to lose control, got to lose control,
Got to lose control and then you take control,
Then you’re rolled down on your back and you like it like that,
Like it like that, like it like that, like it like that,
Then you do the watusi, yeah do the watusi
Life is filled with holes, Johnny’s laying there, his sperm coffin
Angel looks down at him and says, “Oh, pretty boy,
Can’t you show me nothing but surrender ?”
Johnny gets up, takes off his leather jacket,
Taped to his chest there’s the answer,
You got pen knives and jack knives and
Switchblades preferred, switchblades preferred
Then he cries, then he screams, saying
Life is full of pain, I’m cruisin’ through my brain
And I fill my nose with snow and go Rimbaud,
Go Rimbaud, go Rimbaud,
And go Johnny go, and do the watusi, oh do the watusi
There’s a little place, a place called space
It’s a pretty little place, it’s across the tracks,
Across the tracks and the name of the place is you like it like that,
You like it like that, you like it like that, you like it like that,
And the name of the band is the
Twistelettes, Twistelettes, Twistelettes, Twistelettes,
Twistelettes, Twistelettes, Twistelettes, Twistelettes
Baby calm down, better calm down,
In the night, in the eye of the forest
There’s a mare black and shining with yellow hair,
I put my fingers through her silken hair and found a stair,
I didn’t waste time, I just walked right up and saw that
up there — there is a sea
up there — there is a sea
up there — there is a sea
the sea’s the possibility
There is no land but the land
(up there is just a sea of possibilities)
There is no sea but the sea
(up there is a wall of possibilities)
There is no keeper but the key
(up there there are several walls of possibilities)
Except for one who seizes possibilities, one who seizes possibilities.
I seize the first possibility, is the sea around me
I was standing there with my legs spread like a sailor
(in a sea of possibilities) I felt his hand on my knee
(on the screen)
And I looked at Johnny and handed him a branch of cold flame
(in the heart of man)
The waves were coming in like Arabian stallions
Gradually lapping into sea horses
He picked up the blade and he pressed it against his smooth throat
And let it deep in
Dip in to the sea, to the sea of possibilities
It started hardening
Dip in to the sea, to the sea of possibilities
It started hardening in my hand
And I felt the arrows of desire
I put my hand inside his cranium, oh we had such a brainiac-amour
But no more, no more, I gotta move from my mind to the area
(go Rimbaud go Rimbaud go Rimbaud)
And go Johnny go and do the watusi,
Yeah do the watusi, do the watusi …
Shined open coiled snakes white and shiny twirling and encircling
Our lives are now entwined, we will fall yes we’re together twining
Your nerves, your mane of the black shining horse
And my fingers all entwined through the air,
I could feel it, it was the hair going through my fingers,
(I feel it I feel it I feel it I feel it)
The hairs were like wires going through my body
I I that’s how I
that’s how I
(at that Tower of Babel they knew what they were after)
(they knew what they were after)
[Everything on the current] moved up
I tried to stop it, but it was too warm, too unbelievably smooth,
Like playing in the sea, in the sea of possibility, the possibility
Was a blade, a shiny blade, I hold the key to the sea of possibilities
There’s no land but the land
looked at my hands, and there’s a red stream
that went streaming through the sands like fingers,
like arteries, like fingers
(how much fits between the eyes of a horse?)
He lay, pressing it against his throat (your eyes)
He opened his throat (your eyes)
His vocal chords started shooting like (of a horse) mad pituitary glands
The scream he made (and my heart) was so high (my heart) pitched that nobody heard,
No one heard that cry,
No one heard (Johnny) the butterfly flapping in his throat,
Nobody heard, he was on that bed, it was like a sea of jelly,
And so he seized the first
(his vocal chords shot up)
(like mad pituitary glands)
It was a black tube, he felt himself disintegrate
(there is nothing happening at all)
and go inside the black tube, so when he looked out into the steep
saw this sweet young thing (Fender one)
Humping on the parking meter, leaning on the parking meter
In the sheets
there was a man
to the simple
Rock & roll
Lyrics from the song ‘Horses’ written by Patty Smith, from the album ‘Horses’ (1975).
To see more photographs by German artist Alexandra Vogt please visit her website: www.alexandravogt.de
24 June 2013 . Posted by João Bento
I photographed ‘Tohoku’ between 2009 and 2012.
At the same time I photographed ‘Kuragari’.
I stayed at a friend’s home.
He lives in Tohoku, in the Iwate prefecture, in Kamaishi.
One day after dinner,
He asked me,
“Have you ever seen a deer at night?”
After that we ran around the mountain by car.
But we couldn’t see them.
He said “time to call it a night and go home”.
We saw two deer watching us in the dark.
And they walked way, just like that.
I know that this darkness hasn’t changed since ancient times.
(Tatsuki Masaru, 2013)
You can also see ‘Tohoku’ on Tatsuki Masaru’s website: tatsukimasaru.com/tohoku/