matjaz krivic – urbanistan

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Matjaz Krivic

Urbanistan

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The story of a quiet loudness.

As soon as you hear the word Urbanistan your imagination is whisked off into the traffic mayhem of Calcutta, the tawdriness of the neon sex nightlife in Bangkok, the unbelievable structuralized yet frenzied Tokyo, the suffocating and dusty streets of the (hardly) living body of the decaying Cairo, the roundabout of the hedonistic and aggressive Rio, the unstoppable narcissistic Manhattan, the global supermarket of turbo consumerism.

However, Matjaž Krivic’s Urbanistan is a miraculous anti-thesis to all this. It is a story from the other side – a story of the quiet loudness on the margins of total existential, religious, economic and geopolitical chaos. A story that speaks of the indestructible spirit and the eternal search of inspiration that enables survival. It is a story of individuals and social groups who, putting aside the racket and general urban angst, keep searching for the core of existence in a different space and a different time. It is a story of survival through play, prayer, tradition, rituals, travels, socializing and especially, a special light, that the author of the exhibition sees and records so well.

Urbanistan is a space that allows you to take a breather from the city. Any city.

Bio

Matjaz Krivic is a globe-trotting photographer specializing in capturing the personality and grandeur of indigenous people and places. For 15 years he has covered the face of the earth in his intense, personal and aesthetically moving style that has won him several prestigious awards. He has made the road his home and most of the time you can find him traveling with his camera somewhere between Sahara and Himalaya.

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Matjaz Krivic

 

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A Conversation With Martin Parr

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David Alan Harvey: What I do on Burn is I will run a set of pictures and then have what I call a conversation, I don’t even call it an interview. You like beaches. I like beaches. You and I see different things at the beach but I am interested in this new take on Benidorm. Had you been to Benidorm before?

Martin Parr: Oh yeah, I did a little book on Benidorm before.

DAH: I didn’t see the book on Benidorm, how did I miss that?

MP: I don’t know, I did it about 15 years ago.

DAH: Somehow I missed that one. I have a pretty good collection of Martin Parr books but obviously I don’t have them all.

MP: It is more of a catalogue type, I’m sorry. I think of all this stuff as beach therapy, you see.

DAH: Explain beach therapy to me.

MP: When I try a new technique, I always do it first on the beach. There are about six phases of my photography career, black and white, then wide angle with medium format, etc., etc., but I always try them out on the beach first because it’s like an experimental laboratory for me. You have all these people, you can do different things, so this is no exception. It is really like the last chapter of exploration. So inevitably, therefor, I begin at the beach first.

DAH: Why do you think that is? How did that come to be your laboratory?

MP: Well I love beaches anyway, so it is always a good excuse to go to the beach and take more photographs and when you are trying out a new idea I always make it the place where I start.

DAH: What led to the long lens? Before you were always up in people’s faces, popping a flash with fairly close range with a wide angle or normal lens. Is it something that changed inside you that said “okay I want to pull back a little bit”, or you just like the look?

MP: In more recent times I have been using the digital on the beach, I have been pulling back anyway, but now I wanted to pull forward. This is all brought about because I had these big propaganda photography books that were from all over the place, but in particular they have very interesting, creative use of the telephoto lens and it just struck me that in the art photography business, which we are part of, the art photography / documentary business, this is a lens that is basically rejected and not used at all with the exception of Beat Streuli. It is very very occasional when you see it, but basically we all use wide angle as a standard.

DAH: Well I think you told me a couple of years ago in Arles, “David why don’t you go a little bit longer”, and you know I started out in photography with a 50mm lens, so I did, I went back since I had been shooting so much with the 35mm. So now I am in the 50-75mm range. I am not as long as you are – you are out there with the 200-300mm length it looks like.

MP: I think it is interesting to experiment and basically I am using this propaganda material as my starting point because they show me what is possible with the telephoto lens, because the art world hasn’t. As you know we turn a blind eye to it. We just blank it out. So it is very interesting to see if it can be made into something interesting. And you know I have had a few experiments now – I think those were the most successful.What I have done in Italy I haven’t edited very thoroughly yet, but you suddenly start to see a pattern emerge and it looks interesting.

DAH: Well that is great. So you will do another book on Benidorm?

MP: I will do a book eventually that will be called “beach therapy” where I’ll explain this process of experimentation and then illustrate it with the set of pictures done with the telephoto. If I do a book called “Life at the Beach” I have to set the whole thing back a bit.

DAH: Yeah, that’s right.

MP: There are different version of that. I did a deluxe version and and beach bag version. There is only so much power the world can take and there are only so many beach photographs that the world can take, but none-the-less you feel that you are onto something. That’s why I was quite happy to isolate the Benidorm pictures from one particular shoot that seemed to really work.

DAH: Well you have Argentina also.

MP: That was the start of the experiment and that showed me what was possible, and then I tried to build on it and since then I have done stuff in England and in Italy.

DAH: Also at the beach?

MP: Yes. It is more difficult though. I am shooting in Rome now and didn’t even bring the telephoto lens with me. What I am generally doing is having the foreground out of focus and focusing way beyond. That is the thing that to me looks more interesting. Now when I did my previous Benidorm book I was using the macro lens which is an insane lens to use on the beach. Macro with a ring flash. And there I was focusing on the foreground and letting everything else fall away. So now I am doing the entire opposite.

DAH: Is the woman with the glasses an original Benidorm picture?

MP: That was one of those things that inspired me, in fact. The out of focus there is very effective. It is an icon that you will remember and I am trying to replicate that feel and look, but that was done on the macro lens. So that was a 50mm lens compared to the 70-200mm lens which I am using now.

DAH: Right. Now this puts you into a completely different relationship with your subjects. Before, obviously at some point, you were so close to the people you had to engage with them probably some of the time. Now you are completely disengaged from the subject.

MP: In fact it works in my value because as you know it is getting more and more difficult to photograph on the beaches in particular when there are kids around because people go nutsy when you start photographing kids. I have been not quite arrested on the beach in Rio, but I have been apprehended to the police being called. Therefor, [the lens] does get rid of that problem. I had my phase of getting really close, and I still do get really close. For example this current session I am photographing in the Vatican Museum for the Museum here, and I am right on top of people so it is not like I am not doing that anymore. But the beach has become a particularly controversial place to photograph.

DAH: I think that is right. I always look around for mom and dad first if I see a kid because that can be an issue.

MP: Years ago when I was doing the last resort, which is the first big body of work I did, I shot on the beach, again as part of the beach therapy process, people didn’t even think about that. Now it is always in people’s minds.

DAH: At my beach here for some reason nobody minds. There are kids running all over the place. But in most beaches it has gotten like that. Well that’s great, thank you Martin.

MP: Thanks David.

 

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Martin Parr

zhang kechun – the yellow river

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Zhang Kechun

The Yellow River

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Saying that it is a song might have been a popular joke. Saying that it is our mother river or the root of soul might have been a deliberate oblivion. Indulging ourselves in the turbulent pleasures of modernized world day after day, we might have put the winding river out of mind, and would not like to give any more calm gaze on it, even a second.

It is a river! No matter if it meanders or goes forward straight; if it’s swelling or dry; if it flows rapidly or slowly; if it’s lively or tranquil; if it’s majestic or elegant; if it’s simple or magnificent; if it possesses brightness or dark; if it’s colorful or gloomy; if it’s only an imagination and reality, it always embraces people’s life and fate, joy and sorrow, faith and hesitance.

Then I determined to go and follow its pace, with all my courage and my only presentable tool — a large-format camera. That is my implicit expression. I have the knowledge that mountains and rivers are nothing a photographer may properly comment on, and behaviors like growling, making a bold pledge or a plaintive complaint on the presence of such an eternal being may look inappropriate. Now, it’s the moment that I must wake up my silent soul to quietly keep watch on it flowing for seasons, to stare at it through this journey, to drink a toast to it, to sing a song for it, and to have a sleep beside it.

Who is keeping watching on whom? Who is wrapped with the flow with whom? While be alive, we all go by with time. But we are still here, and we may have a better consideration on the future after having a look at the past and the present with heart.

Bio

Zhang Kechun was born in 1980 in Sichuan province, China. He now lives and works in Chengdu. His work has been reported by multiple publications including Time, BBC News, Telegraph Magazine, China Photo Magazine and so on. His works have been collected internationally by many other museums and private Collectors from U.S.A, France, Germany, Japan and China, such as Chinese Image and Video Archive, Canada; Williams College Museum of Arts, USA; and CAFA Art Museum, China.

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Zhang Kechun

boris eldagsen – the poems

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Boris Eldagsen

The Poems

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Boris Eldagsen’s photographs explore the limits of what can be depicted. The ‘POEMS’ utilise the external reality, to paint the inner reality, that of the unconscious, archetypical and unspoken. Without excessive materials or digital effects, Eldagsen combines street with staged photography and recreates spectacular and dreamlike images. The photographic mediums of light and shade become symbolic of the spaces between, those that are inaccessible to the rational mind and compel the viewer to resort to their own memories and feelings.

Beyond what is fashionable and current, Eldagsen creates alchemical connections between painting, film and theatre that defy categorisation.

This work was awarded the Prix Voies Off / Arles in 2013.

 

Bio

Berlin-based German artist Boris Eldagsen has studied photography and visual arts at the Art Academy of Mainz, conceptual art and intermedia at the Academy of Fine Arts Prague, fine art the Sarojini Naidu School of Arts & Communication Hyderabad / India – and philosophy at the Universities of Cologne and Mainz. Boris works as a multi-media consultant and a lecturer.

In 2013 he became a member of Deutsche Fotografische Akademie.

 

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Boris Eldagsen

BORIS+NATASCHA - collaborative work with Australian artist Natascha Stellmach.

SUPERHIGH – mockumentary reality show on getting high, a collaboration with Sabine Taeubner.