If I need to choose one image I would like to show, which one would it be? Why? And what I will tell the others?
Olli Zilk and me are asking photographers all around the globe to send us their favourite image with a little (max. one page) text about the image, photography, their love or whatever they want. This image and text will be exhibited for in Altes Spital Viechtach, a concert place in Viechtach in the Southeast of Germany.
Photography and specifically art photography is such a deep and wide field that most people do not know much about. At the same time there are so many photographers all around the globe, near and far, who we might know, who we do not know, but should know.
For the last years I was living in a lot of different places around the world. I got to know so many people and how exciting photography can be. Now, when I settled I had the desire to bring the world to my part of the world and get them all together.
At the same time I knew, getting photographs and art work together is expensive and sometimes not worth the effort.
We would like to present every month one photograph in the space for a duration of one month. This photo should represent the photographer or at least giving an indication into a photographer’s work. Little, but efficient and remarkable.
Thereby every shown image should be treated in the same way. Each image will be shown in the same frame with the same window mount. But due to that, it’s individuality will be highlighted.
The frame will be small. 30 cm x 30 cm, the picture in itself (depending if it is square or rectangle) 10 x 10 cm or 10 x 15 cm. Tiny so to say. But that is important, because it is just a window to the world and should not replace your way of showing your work.
The presentation will be on and offline. In the space, local newspaper, on the webpage, in the gallery space. First individually, after a while together with all the other ones.
Much later we will do a group show, with the collection of images. During that exhibition, the image will be sold in an auction. The money, if nothing else is said by the artist, will go to the artist.
And of course... the copyright always stays with the artist. We just need the permission for printing one image and for presenting it on - and offline for project related work.
So what to do....
1. Send us your favourite image in a size which will be big enough for 10 cm x 15 cm (or 10 x 10cm) image (tiff or jpg) via E- Mail: firstname.lastname@example.org.
2. Alongside you need to write a text or tell us on an audio device about the image. Why it is your favourite, why you chose it or whatever you feel like.
3. Also please send us a short bio with a link to a webpage or whatever.
4. After sending, you get notified when it will be displayed in the place. Also you can check online on this website for a timetable.
5. The image will be displayed, alongside with your words as a text or an audio file people can listen to.
6. The image will be shown for a duration of one month. At the beginning of the show it will be (hopefully) featured in the local newspapers, alongside with a bio of the artist.
7. At the end the material will be stored (unless you disagree - please notify us) and used for a big exhibition and possibly a book.
8. The image, plus the text, plus bio will be also shown after the exhibition is finished on this webpage.
There is no selection process. Idea is: First-come, first-served, art is art and there are no rules. The only two things to keep in mind: We need image and text (or whatever it will be), and not everything is justified for the sake of art.
We want to make a book, a big exhibition, it should be featured in art magazines, online, in Moma, lets dream big ... :)
Altes Spital Viechtach
Altes Spital Viechtach is a little live music bar, which opened last year. Every week there are concerts with many international artists performing.
The Spital Viechtach was a former hospital in Viechtach with a little church.
Bad Kötzting and Viechtach
Bad Kötzting and Viechtach are two little towns in the south east of Germany, close to the border to Czech Republic and a bit further still to the border with Austria. They are on the border to the Bavarian Forest.
Photographer, multimedia journalist, studied in London, New York and Halle (Saale), lived in Russia, Ukraine, Bangladesh, UK and Germany, worked for magazines, newspapers and art spaces. She loves art, photography and above all the idea of the variety and differences in ideas. evilemberger.de
Olli Zilk has studied Media Arts with Radio Broadcasting in London, worked as a DJ for about 30 years and as an editor for Pro7Sat1 for about 16 years.
The photo I chose is of a small lake off the beaten track somewhere between Budapest and Baja. Its name is Szeledi To and it is the site of my partners childhood summer home, in which she spent many happy hours with her grandparents. With the help of a Holga, the wrong size film roll (35mm rather than medium format) and the film being loaded back to front it is also my, perhaps all of our childhoods. The gold and red hues and the subtle variations in colour, rather than a sharper definition are, for me, an exercise in nostalgia. My visit to the lake was very pleasant in itself, a warm spring day, peaceful countryside environs and seeing a part of my partners past, but when I saw the photo it gave something else. I grew up right next to the fields and woods and had my own days adventuring slowly by bike. This photo reminds me of the joy of time taken in absorbing the colours and feels of a world less rushed and of my own first pictures taken on a 110 camera, also bearing that same lack of clear distinction in tone and shade. It is also the epitome of one of my earliest drives, to travel and see how life and nature differs away from my own doorstep. It is both the sense of other and the feeling of home that this picture captures for me that is why it is here now.
I don’t have a link to anything and as far as bio goes you can make something up, I don’t really like all the background info but here are the facts:
Degree in Digital Media Arts
Ongoing individual & collaborative music/sound projects
Screenprinting on card/textile
Born in Lam, aged 55, worked at the Landesvermessungsamt Munich. I have always liked photography, although I take the most photos with my Samsung Galaxy S5 Mini and my Canon mirror reflex camera stays in the closet dusty! I do not take part in photography competitions, because most of the pictures are processed on the PC until they fit! My pictures are all untreated and as photographed as I have seen them, one needs just an eye for the beautiful and unique! I like to be with my shepherd dog Shani, which often has to be a motive for me in our great mountains!
India Roper- Evans
Locus means a place in Latin, this #place’ where I made the film is a small village near the Hungarian/Serbian Border, called Fülöpszállás, where the refugees travelled through to get to Serbia and where brutally turned away or imprisioned in Hungary. This place, where the buildings are falling apart and people are leaving everything behind to try and make a better living in the cities, a ghost village, full of memories and remnants of people passing by. An empty shell of a once thriving village, where the locals face the same fate as the incoming missile-eastern refugees, fleeing to find a better life, leaving only ghosts behind, a place full of anxiety.
C.O.B.: Budapest. Hungary
India Roper-Evans is a Berlin based Hungarian(British photographer/film maker and curator. She has had several large-scale commission across her eight-year career as a photographer and also co-founded Art Crunch, a platform to support emerging young artists through the credit crunch. Her work deals with humans narratives, she often uses images to interpret texts or vice versa, in her ‘Locus Criminis’ Project where her photographs of fictional crime scenes are interpreted into micro fictions by a writer, the writer responding to each image. Collaboration is key to her practice, with a view to working with her subjects to produce a multi-layered portrait of them, one that speaks about and not to them.
For this project, it was relatively clear to me which image I would choose. The picture “# 8145 Horses with a View” was taken in May 2013 during my last trip to Iceland. We were on our way to dinner when I saw the small group of Icelandic ponies standing next to the road, looking as if they were watching the view of the sunbeams off Vatnajökull in the background. So then came the title. In reality they are of course in front of a water trough. We stopped the car and I made my shot as I had imagined. This recording is still one of the absolute favorites of my favorite pictures, although I have now synonymous even “nicer” pictures succeeded. Iceland is my favorite country .. I like to travel there again and again. In addition to the great opportunities for landscape photography in Iceland is exposed to nature very different. With this picture I would like to offer my window view of the world (in Iceland).Bio:
Born in March 1956.
At about 15, I started to take photos. Later, after studying electrical engineering, photography was an important balance for my highly technical career. I taught myself autodidactic photography. For about 10 years, I have intervened in between an artistic break and (almost) no camera touched. The head was somehow empty. With the appearance of the Fuji F10 as the first high-quality compact camera, the interest in (now digital) photography was reawakened. Since 2010, my passion for photography has been packed again and I try to live it out with various small personal projects and in the photo club Bayerwald Cham. Unfortunately, I was always at loggerheads with analogue laboratory work, so digital photography is a blessing for me. This allows me to be creative in the development of the pictures.
Text to the picture:
For this project, it was relatively clear to me which image I would choose. The picture “# 8145 Horses with a View” was taken in May 2013 during my last trip to Iceland. We were on our way to dinner when I saw the small group of Icelandic ponies standing next to the road, looking as if they were watching the view of the sunbeams off Vatnajökull in the background. So then came the title. In reality they are of course in front of a water trough. We stopped the car and I made my shot as I had imagined. This recording is still one of the absolute favorites of my favorite pictures, although I have now synonymous even “nicer” pictures succeeded. Iceland is my favorite country .. I like to travel there again and again. In addition to the great opportunities for landscape photography in Iceland is exposed to nature very different. With this picture I would like to offer my window view of the world (in Iceland).
The image is the result of an attempt with simple tools to create a small window in a colorful universe.
Born and raised as one of two sons of convinced Lower Bavaria in the middle Swabian exile. Dedicated to now for almost three decades various challenges of modern computer science and can be since childhood days again and again for photographic experiments. Lives today at the place of his ancestors in the Bavarian Forest and in Augsburg.
This picture was taken in spring 2016 on a hike over the Isle of Skye off the Scottish west coast. It was recorded on the top of Mount Blabheinn in the Cuillin Hills in the south of the island.
When I prepared for the ten-day tour, I reckoned with lots of rain. Finally, the Hebrides lie in the midst of the “Einflugschneise” of the Atlantic low pressure areas and are thus one of the most rainy regions in Europe. I even impregnated my tent once again as a precaution. But despite all the meteorological probabilities, I caught an almost three-week period of good weather, which, as I have been assured by several locals, is absolutely unusual. It became the first of six trips to Scotland, where I had to buy suncream and my feet were running hot. And of course the clear high-pressure air and the high blue sky offered better conditions for beautiful photos than gray clouds and continuous rain ...
I took the photo in Neukirchen / Haggn in the Bavarian Forest. Someone at the bus stop has a “window to the world” burned into the map. At the time, asylum seekers were lodged in the village, perhaps someone had a great longing for the world and wanted to get out of the village. Perhaps only someone made boredom because the bus never came. One does not know.
After several days of hiking I reached the Cuillin Hills. When I stood alone on the summit of Blabheinn and around me the clouds surging over the surrounding mountains, this was one of the highlights of this journey in the truest sense of the word. Surrounded by a millennial old landscape, the hustle and bustle of everyday life, I felt a connection with nature, which is actually a condition of human existence, but which is mostly buried under all sorts of civilizing rubble.
I wish the viewers of my photo that they can feel this feeling.
About me: My name is Hubertus Stumpf, I am 49 years old and live in Nabburg. I work as an editor at the Mittelbayerisches Verlag in Regensburg. In my spare time, I like to walk, wander, photograph, or climb outdoors, because the green world around us is a source of strength, inspiration and renewal.
• Born in Straubing
• Abitur at the Anton-Bruckner-Gymnasium Straubing
• Study of educational science at the University of Regensburg, 1. Examination for the Lehramt at primary and secondary schools
• Study of art history, archeology and pedagogy in Regensburg, Würzburg and Tübingen.
• 1976 International Fellowship in Florence
• Since 1984 active in the field of art and culture as a curator, freelance journalist and author
• Publications in: Landshutterzeitung, Bayerische Staatszeitung and various
Journals; Member of the editor of the magazine “Schöner Bayerischer Wald”.
Numerous publications in exhibition catalogs and monographs.
Erwin Eisch, Der Himmel fängt am Boden an. Uta Spies (Hg.) Dietmar Klinger Verlag Passau, 2007. ISBN 978-3-932949-63-0
Peter Wittmann, Blüten und Früchte. Malerei und graphische Blätter/Sommer 2007, Herausgeber Eduard Meier GmbH München. 2008. ISBN 978-3-00-024378-3
Papier Global. Paper Global. Herausgegeben von Brigitta Petschek-Sommer und Ulrike Schwarz. Katalog der Museen der Stadt Deggendorf Nr. 26. 2009.
Jörg Siegfried Bachinger, Dietmar Klinger Verlag, Passau 2011.
Erwin Eisch,Herausgeber Katharina Eisch- Angus, Ines Kohl, Karin Schrott und die Erwin- und-Gretel-Eisch-Stiftung, Hirmer Verlag München 2012. ISBN 978-3-7774-5381-1 (Deutsch)
Marcel Manche, Dietmar Klinger Verlag Passau
Theodor G. Sellner. Dietmar Klinger Verlag, Passau 2013. ISNB 978-3-86328-115-1
Raimund Reiter, Dietmar Klinger Verlag Passau
Ines Kohl, KochLust.edition lichtung, Viechtach 2007. ISBN 978-3-929517-83-5
I want to believe that by proposing an alternative perception of the evident I
can do away with the presumptions that lead to a dull life. This way I will try
and suggest a reconsideration of any blind conclusion. The camera enables
me to discover something absolutely unbelievable that exists within a world. I thought I knew. I hope my pictures of and about this world will convey an idea that at the end of the day there is always another way to think of things.
phone +45 6179 5940
all sales inquiries go through Sam De Santis
(shortlisted) MACK First Book Award 2017, London
RSA Adam Bruce Thomson Award 2017, Edinburgh
Art in Healthcare Purchase Prize 2017, Edinburgh
Jill Todd Photographic Award 2016, Edinburgh
Selected Artist for Royal Scottish Academy New Contemporaries 2017, Edinburgh
Danish Embassy Art Prize 2016, London
2013 - 2016 BA (Hons.), first class, Fine Art Photography, Glasgow School of Art, Glasgow
2010 - 2011 Documentary Photography and Photojournalism, ICP, New York
2009 Fatamorgana, Copenhagen
2017 I look at War, Banja Rathnov Gallery, Copenhagen (DK)
2017 New Contemporaries 2017, Royal Scottish Academy, Edinburgh (UK)
2017 Jill Todd Award Show, Nerve Centre, Derry-Londonderry (UK)
2017 Ung Dansk Fotografi ‘16, Four Boxes, Skive (DK)
2016 About Common Ground, The Royal Danish Embassy, London (UK)
2016 The Project About Common Ground, White Space, Glasgow School of Art (UK)
2016 Jill Todd Award Show, Stills Gallery, Edinburgh (UK)
2016 Ung Dansk Fotografi ‘16, Fotografisk Center, Copenhagen (DK)
2016 Opposite Tendencies, 16 Nicholson Street, Glasgow (UK)
2016 Futureproof 2016, Lillie Art Gallery, Milngavie (UK)
2016 About Common Ground, degree show, Glasgow School of Art, Glasgow (UK)
2015 100 Editions, Galleri Naboløs, Copenhagen (DK)
2015 Hoamat Moi Zwoa, Haus zur Wildnis, Bavaria (DE)
2015 Alien’s Passport, The Art School, Glasgow (UK)
2014 Århus Independent Pixels, Århus (DK)
2014 100 Editions, Galleri Naboløs, Copenhagen (DK)
2014 Metro trains, Copenhagen Photo Festival, Copenhagen (DK)
2014 Book show, Centre for Contemporary Arts, Glasgow (UK)
2014 Eksil, I DO ART, Århus (DK)
2014 ENTROPY, Clark and Fyfe gallery, Glasgow (UK)
2013 MAX A5, Kontors galleri, Copenhagen (DK)
2011 Graduation show, International Center of Photography, New York (US)
2010 Graduation show, Fatamorgana, Gallopperiet, Copenhagen (DK)
I was asked to find my best photo (or was it the one I love most), but I haven’t taken that one yet. This may come close, though. It is not the first photo I ever took, but definitely among my first. For nostalgia lovers: it was taken on Adox KB 17 film with an Adox camera (Golf Ia, if it matters to you). In the beginning of 1968, before summer and the famous events of 1968. Even then, the image could be called nostalgic. Why does snow add nostalgia? Is it because we remember it from last year’s winter? Or the winters of our childhoods? The wagons were old in 1968. Does mould on the emulsion add to the nostalgia?
Schönheit beglückt nicht den, der sie besitzt, sondern den, der sie sehen und anbeten kann. Das wissen alle Gepäckwagen.
Autodidact, sometimes lucky with the camera
Of course I have several “favorite photos”. But consciously I chose this photo that I made 3 years ago at the Drachensee. It shows the view tower in Kleinaign, just above Lake Drachensee in Furth im Wald. Where I spent very much time around the beautiful nature & Landscape in photos. For me a piece of home.
To my person:
My name is H.-P. Hastreiter from Furth im Wald. I discovered my hobby photography 2010 again for me. In the beginning I was of course fascinated by the beauty of nature and photographed above all birds and insects and of course the landscape, especially here around the dragon lake. Since around 2016, I have also discovered the portrait photography, which I naturally pursue with the same passion and dedication.
I took this picture in Kyrgyzstan in 2003. I was there for a summer program organized by DAAD to learn about Kyrgyz language and culture. But instead of getting me excited about the Kyrgyz language, the program inspired me to start learning Russian. Instead of teaching us much about Kyrgyz culture it taught me much more about the structures and ways German and other international organizations work in small remote countries like Kyrgyzstan.
The program was called Go East and its intention was to bring the East and West closer together. But did it really? The local students we met spoke German perfectly, without ever having been to Germany and with hardly any chances of ever being granted a visa to go to Germany. At least that is what the German vice ambassador told us. She was depressed, having to represent and advertise a country that doesn’t actually want the people it is advertising to.
All the foreigners living in Kyrgyzstan seemed to meet at the local German beerhall. And all money coming in seemed to be distributed amongst these foreigners and their businesses right there. Over a beer or many more, they made friends and business, instead of giving the money to the local communities or entrepreneurs it might have been intended for.
This picture was taken at a camp near Issyk-Kul, the biggest lake in Kyrgyzstan. It shows a group of German students doing yoga at the camp site, in front of the yurts we were sleeping in. The German company that organized the camp charged 5 Euros per person per night. The local family that cooked for us three times a day was given 5 Euros to feed a group of 20 people a whole week.
Why did I chose this picture? Because it is absurd. None of it fits and it tells a whole lot at the same time. People facing inward when they should be looking out. It’s a mismatch.
We left the camp after that yoga session, paying of the family for their services and threatening to sue the program if they kept putting us in exploitative situations where Germans are the only ones that profit.
When I take pictures I like to point out these kinds of mismatches and absurdities. Showing the things that you least expect. Beauty in forms and contrasts. The inside facing the outside. The hidden finding its way out and similarities that the uninformed would not think possible.
Verena Spilker, the photographer, is a jack-of-all-trades. Amongst other things she runs a web design business, has her own radio show and is curating transnational exhibitions all around Europe. You can find out more about her and her work on www.verena-spilker.com.
The picture is taken from the photos to my lyric sequence “MASCHINENWÄSCHE locus vogelsang”, which I presented in Esslinger Bahnwärterhaus in April 2017. The basic idea of this work was the perception that I felt like a big washing machine at the railway station, where I lived as a railroad scholar for literature for 8 months: the railway line Stuttgart - Ulm (with ICE, Regional trains and suburban trains), and the house is vibrating regularly. 200 meters in the other direction the traffic of the B10 in the former bed of the Neckar, whereas this, besides, in a concrete corset, dismembered by fortresses, supplements as a sad standing water.The railway station itself is located in the park of the Villa Merkel, former factory building, now art gallery, to which the factory also joined. Before industrialization, however, the site was called “Vogelsanggärten”, but today only the name of the most frequented Neckarbrücke, the Vogelsangbrücke, reminds us. “MASCHINENWÄSCHE locus vogelsang” deals with this intersection of idyll, industry and traffic characteristic of the Neckar valley. The photographs are intended to convey the impression of a landscape through a simple analogue trick: the shots of the Neckar valley were made by a polished piece of crystal glass from a chandelier, which I took from an old industrial villa.
Then my short biography: Johann Reißer, born in Regensburg in 1979, studied in Regensburg, Berlin, New York and Frankfurt Oder, and has been promoting archeology and sampling in German-language lyric poetry since 1960. Publication of prose, lyric and intermediate works. Conductor of various theater and performance groups, performances of own plays in Germany, Austria and England. Residencies in Regensburg, Wewelsfleth, Rottweil, Pfaffenhofen and Esslingen. Lives as a freelance author and theatermacher in Berlin.
The picture was taken in June 2016 in Haiti’s capital Port-Au-Prince. Pride and in clean white clothes two little girls are walking on a dump. It has developed wildly in a place where a river that flows through the city flows into the sea. The girls live directly opposite the stockpile in the poor district of Cité Soleil - one of the largest slums in the western hemisphere. Haiti is one of the world’s poorest countries, and not just since the devastating earthquake in 2010, the state has not fulfilled its tasks.
I have been to Haiti three times already to report on the consequences of the quake and the international aid measures. For me, this image is symbolic for many Haitians: despite the misery and the unsustainable conditions, many people are not able to take chic clothes and clean shoes, of which they often have only one set. They radiate a natural elegance and dignity. In spite of the extremely difficult circumstances, the Haitians try not to let themselves go and look forward.
At the same time, this picture shows what negative effects the failure of the state and planned urbanization can have on people and the environment. And since the picture unites both, it illustrates the contrast of dirt and gloss so well, I like it particularly well.
David Weyand (* 1978), graduate political scientist and free photojournalist from Berlin. He reports on development policy, human rights, social and environmental issues. His research led him among others. To Bangladesh, China, Haiti, India, Lebanon and Myanmar. His clients include Deutschlandradio, friday, GEOlino, NDR, Piper, Heyne, SpiegelOnline, SpiegelWissen, Tagesspiegel, taz, ZDF and Zitty.
My little brother was the perfect photo model as a child .. now he can use the pictures as a profile picture for whatsapp. It was always important for him to stay on the ‘dark side’, very often in my high shoes.
Short biography Pia Janker
Born 21 July 1985 in Regensburg, Germany
Realschule Roding, FOS Chamtechnik, visualization designer in Roding at Michael Plonka
Visual Merchandiser ESPRIT Retail B.V. & Co. KG in Augsburg
Study of interior architecture in Coburg
Equipment for the theater and the costume design Residenz Theater Munich, Bavarian State Opera Munich, Theater in der Josefstadt Vienna, Volksstheater Munich
Unemployed in Roding, Regensburg, Munich
Group Junior Interior Designer Ruby Hotels & Resorts GmbH in Munich
“Each one follows it´s own way, which is not like any other, and no one flows into the same place, neither in life nor in death”.
Evi was my classmate at the ICP in New York. Amy Arbus decided that we have to work together because we were the only two in the class that have medium format cameras. This portrait was the result of our photo meetings.
Stop, you are always running. Where are you going? What come next? I feel that this portrait suspend time, action, but not the sensations and feelings. It’s not stillness, it’s not movement, it’s an uncomfortable moment, a moment to stop and think. And I see that in her body, in her face, in her eyes and particularly in her left hand.
I was born in Buenos Aires, Argentina in 1982
While studying Communication Sciences at the University of Buenos Aires, photography caught my attention, so I became a professional photographer. Then I participated in workshops, clinics and seminars with renowned photographers in Argentina. In 2011 I traveled to New York to do an artistic experience and I specialized in the practice of portraiture and street photography at the International Photography Center (ICP).
I´m currently part of an artistic group of photographers called The Incubator where we stimulate the dialogue between colleagues. Also, I´m working in personal projects and after being mother I decided to finish my degree course in Communication.
My work was shown in collective and individual exhibitions in different places of Buenos Aires.
The photographs are (not always) a loving criticism or a worrying snapshot of the region? So is it about home or home loss, even about new home formats? Herbert Pöhnl presents contemporary, irritating and entertaining questions.
Pöhnl’s protagonists are coziness managers, professional forestists and Lewakassemmelköniginnen. All live the simultaneity of tradition, everyday life and modernity. This is exciting, confusing and even a smile. With his pictures, Pöhnl uses question marks, he introduces what is known differently, he lets the visitors fall into the trap of reality.
Climate change and the melting of the Lewis Glacier on Mount Kenya.
The flame line shows the Lewis Glacier’s location in 1963, the year I was born. A long finger of ice extended over the ridge and down into the gully. The glacier has since receded about 275m. At that time, the small hut - a basic climber’s refuge - on the left called Top Hut or Firmin Hut existed. The larger hut with the lights on is Austrian Hut (where I lived) which wasn’t built until 1972, by the Österreichischer Alpenverein (the Austrian Alpine Club). The hut to the right is the modern toilet block. The facilities now all belong to the Kenya Wildlife Service. The spire in the picture is Thomson’s Flake and the rounded peak is Point Thomson. To the right is Point Lenana.
Follow @simonnorfolkstudio on Instagram / www.simonnorfolk.com
Simon Norfolk is a landscape photographer whose work over the last fifteen years has been themed around a probing and stretching of the meaning of the word ‘battlefield’ in all its forms. As such, he has photographed in some of the world’s worst war-zones and refugee crises, but is equally at home photographing supercomputers used to design military systems or test launches of nuclear missiles. His work has been widely recognised and is held in major collections such as The Museum of Fine Arts in Houston, The Getty in Los Angeles and the collection of Tate Modern. Follow @simonnorfolkstudio on Instagram / www.simonnorfolk.com
Weng San Sit
This image can be about so many different things, depending on when and who is viewing it.
For me, it is about my journey of learning to walk, not only to get to a destination in the quickest time, but to feel the sole of my feet, my heel, my collapsed arch, my calloused toes on the sandy ground that was once home to millions of fishes and sea organisms. Learning to walk, also mean to learn to stop walking, and give permission to my skin to feel the cool soft breeze the same time as the warm comforting beam from the sun, and allow the sound made by the walking transition into the slight shuffling made by desert lizards as they go through the bushes. Sometimes, the path may be steep or filled with slippery stones; my body tense up and my mind repeat over and over again those moments in my life that I fall. It takes a while, I sometimes turn back in fear, but sometimes, I move forward, feeling again the sole of my feet, my heel, my collapsed arch, my calloused toes on the sandy ground that was once home to millions of fishes and sea organisms.
Weng San Sit (San) is a Singaporean artist and educator who is currently based between Los Angeles and Singapore. She has a certificate from the International Center of Photography NYC and graduated with an MFA from the California Institute of the Arts.
Her work primarily utilizes still and moving image to explore the systems and power structures that create the dissonance between mythologized representations of oppressed, invisible and unspeakable bodies, and complex individual identities. Though this process, she hopes that alternative spaces open up where our sick, fat, colored, colonized, economically disfranchised, aging and queer bodies can be inhibited as sites of healing, resistance and resilience.
Pete Rubio Larrauri
When I met this bird I thought it was waiting for me, it was trying to send me a message. It was in the front of my hotel in San Bartolo, Peru. I met him and run upstairs to get my camera, as fast as I could flying up the stairs, praying it would be waiting for me to take the picture. It was a dreamlike vision. His head was hidden, looked liked perfectly cropped. Reminds me of how I have to use less my head and more my instinct.
Pepe Rubio Larrauri was born in Madrid, Spain. After studying economics in San Pablo CEU University, he started working in finances. In 2010 he moved to New York to pursue the Photojournalism and Documentary Photography program of the International Center of Photography. He has published 3 books: Colores de Corrientes published by South End Publishing, the collective book New York Edited, Twelve Stories From the City published by Ostkreuzschule fur Fotografie, Berlin and Edificios Que Sanan by Grupo Quiron . He has worked for CNN and United Nations among others. In 2012 worked with the award winning film director Topaz Adizes in New York. His work has been exhibited in the International Center of Photography in New York and in the Bronx Documentary Center. In 2013-2015 he traveled the Americas from South to North covering enviromental and ecological issues. In 2015 returned to Spain to develop Mad City Blues, a video production company focused on branded content.
When Evi approached me to be part of this very thoughtful exhibition-project I had just returned from another trip to Japan. I used to live there for seven years, from 2006 to 2013, in Tokyo and Kyoto, and visited the country several times after my long-term stay.
The exhibition-project is interesting for me because I grew up not too far from Viechtach, in a small village next to Cham. My dentist used to be in Viechtach, and I visited the town often when I needed to wear braces as a young boy (they didn’t help much though, my teeth stand as askew as trees in the Bavarian forest). When I was a child I was wondering what the world would look like behind the mountains and forests of my homeland and I imagined places full of adventures and magic, and one day I left to search for these adventures and the magic that I was longing for.
It is interesting for me to show a picture in Viechtach, because for sure this area and the people living there are familiar to me. I grew up there, so I am carrying a part of the landscape, a part of the culture, even a part of the people inside of me wherever I go in the world.
It was clear to me that if I wanted to show a „window to the world“ then I would chose a picture from my last trip to Japan, which brought me to Kobe and Kyoto. But what image to choose from the hundreds I took on my trip? A temple? A Zen-garden? A beautiful sea-scape? Another tourist-shot, a postcard-motive, a cliché?
One of the main challenges for me in chosing the right picture was the size. 10x15 cm is not very big. A print in this rather small format has to work from afar (so the picture shall be simple), so people who first see it from a distance become interested to have a closer look on it. On the other side the photography should also be detailed enough that it reveals further secrets when inspected closely.
In my profession as a photographer I am usually depicting people and places and architecture for clients and magazines, in this field I am putting a lot of effort into creating images that ‚idealize‘ or ‚iconize‘ people or places.
In my private work with the camera I am often interested in the profane, the worldly and obviously normal. The beauty is that these everyday-moments will develop a magic by themselves when one takes the time to have a closer look on them. The NOW is always perfect.
The picture I chose for this exhibition is a very simple one that I did not even take with my ‚professional‘ camera, but with my iphone. Everybody can take a picture like this, it’s easy. I took mine on the 17th floor of my hotel in Kobe right after my arrival, jetlagged from the long-haul flight from Berlin, at the same time tired and excited to be in Japan again.
I photographed the nightly view out of the hotel-window, an obvious reference to the title of Evi’s exhibition-series. Is it maybe a bit too simple?
Please have a look: on closer inspection you will find more than you see at first sight, there are several layers. One layer shows the lights of Kobe with its highways and buildings in the background. Another layer is the reflection of my hotel room with my hand raised as a greeting. But if you look really closely you’ll see that there’s a third layer that shows reflections in the window that are actually mirroring the other side of the harbour: the red tower, the body of water, the ferris wheel are only reflections in the window, superimposed onto the cityscape of Kobe like a mirage or fata-morgana.
This picture is a greeting. I am greeting Kobe, a place I did not know in Japan at the moment that I took the picture, but a place I learned to love in the days that followed. And I am also greeting you, the viewer, in Viechtach, my beloved homeland. I hope that by this simple gesture I can somehow connect these two places, if not in reality, then maybe through this picture, on a metaphysical or spiritual level.
This picture is also an invitation. An invitation to be in the NOW wherever you are, an invitation to find magic and perfection in the NOW, whenever you are and wherever you are: just open your eyes.
Sebastian Mayer is a visual artist and photographer. He was born in 1973 in Germany. He gathered his first artistic experience from the age of 12 in photography, followed by occupations as a comic artist, graphic designer, illustrator, silk-screen printer and painter featured in numerous publications and exhibitions, as well as a musician in several bands and solo projects (Minitchév, Disz/Play, Ladytron). In 1999, he finished his studies with a diploma in Media Arts at the Bauhaus-influenced independent college ‘bildo akademie berlin’ with a focus on Analogue Photography, Digital Production and Media Theory, as well as Gestalt Theory.
His professional career as a commercial photographer and photo-journalist with a focus on portrait and architecture includes (among others) publications in the New York Times, Dazed and Confused, Spex Magazine, Pen International, The Observer and Leica Fotografie International and commissions for clients such as ERCO, Freitag, Espace Louis Vuitton, BMW and Lotus Cars.
Sebastian Mayer has photographed musicians Ryuichi Sakamoto, Yamataka Eye, Iggy Pop, Peaches and King Krule and collaborated with artists Carsten Nicolai, Dirk Bell, Daniel Josefsohn, The Otolith Group.
In 2005, after 15 years of studying and working in Berlin, he left to Liverpool and London, then Rio de Janeiro, New York, ending up in Tokyo and finally Kyoto. In 2014 he moved back to his home country Germany, where he is currently living and working in Berlin.
2018 Naitsabes Reyam: Secrets, ILL Galleries, Berlin
2017 Random:DRIFTER, artloft, Berlin
2013 Another One Bites The Dust, Syokudo Ruins, Kyoto Japan
2013 Sleep Until Your Dreams Come True, 3F Project Room, Kyoto Japan
2011 Made in West Germany, Gallery Countach, Tokyo Japan
2011 F#$%^& West Germany, Combine Nakameguro, Tokyo Japan
2008 Absent City, Gallery Within Assistant, Tokyo, Japan
(w/ Megumi Matsubara, Assistant)
2006 Standardportraet Tokyo. Tokyo Design Week, Tokyo, Japan
(w/ Redesign Deutschland, Berlin)
2004 Moegliche Welten - Possible Worlds, Fotoforum West,
Innsbruck, Austria (w/ Carolin Hake)
2004 B/W, Gallery Glue, Berlin
2004 Nulllinie, Ill Galleries, Berlin (w/ Markus Krieger)
2003 Standardportraet, Simultanhalle, Cologne, Germany
2002 Aggregat, Pavillon an der Volksbuehne, Berlin (w/ Dag Przybilla)
2001 Boys Don’t Cry, Installation in Public Space, Berlin
1998 Galerie BerlinTokio, Berlin (w/ Evelin Hoehne)
1998 Sirup-Szene, Berlin
1998 Galerie RadioBerlin, Berlin
1997 Bei Renate, comic-library, Berlin
2017 five years changing & growing, KM, Berlin
2016 Belong Anywhere, Acud Macht Neu, Berlin
2016 Liaison, Uferhallen, Berlin
2016 Wild Wild Berlin, w/ Eva Otano Ugarte & Miron Zownir; Galerie Zwitschermaschine, Berlin
2016 Hervé Humbert Zascho Petkow Sebastian Mayer; tête, Berlin
2013 Cabane Georgina, Cabane Georgina, Marseille France
2013 Work On Paper, 3F Project Room, Kyoto Japan
2013 Blank Page, Gallery Atsukobarouh, Tokyo Japan
2012 The Radiant, w/ The Otolith Group, Documenta 13, Kassel Ger
2009 Nullpunkt, w/ Redesign Deutschland, MARTa Herford Ger
2008 Post Coitum Omne Animal Triste, M.H.T., Tokyo Japan
2001 Aggregat, Pavillon an der Volksbuehne, Berlin
2000 Club N Slide, NGBK, Berlin
2000 Z2000, Akademie Der Kuenste, Berlin
2000 The Return Of Bewegungselite, Haus des Lehrers, Berlin
1999 The Bewegungselite, Haus des Lehrers, Berlin
1999 ZAG, w/ Dag Przybilla, Musée d’Art Moderne, Paris
1999 Silver Stories – Writing On Photography, w/ Dag Przybilla,
Galerie contact: c4, Berlin
1999 Kuenstler Gegen Den Krieg, Maria Am Ostbahnhof, Berlin
1999 Playart, Galerie Haus Schwarzenberg, Berlin
1997 (Hommage to the artist 4000), Galerie BerlinTokio, Berlin
1997 Kuratorenkiller, Kassel Germany
1996 Allgirls-Galerie, Berlin
1995 Galerie O/2, Berlin
2011 Dokument Nr01, RNN100, Raster Noton, Berlin, Germany
2006 Standardportraet, Simultanhalle, Cologne, Germany
2003 Possible Worlds, Fotoforum West, Innsbruck, Austria
SELECTED PUBLICATIONS: PERIODICALS
032c (Ger), Dazed & Confused (UK), New York Times (USA), The Guardian (UK), The Wire (UK), Spex (Ger), Intro (Ger), Groove (Ger), de:bug (Ger), die tageszeitung (Ger), Odds & Ends (Ger), Der Kulturspiegel (Ger), Spiegel Spezial (Ger), LFI - Leica Magazine (Ger), Revista Trip (Bra), Les Inrockuptibles (Fr), Die Zeit - Magazin Leben (Ger), Neon Magazine (Ger), Tokion Magazine (Jp), Composite Magazine (Jp), Wooly Magazine (Jp), Observer (UK), Icon Magazine (UK), Zoo International (Ger), Fashion Magazine (Can), New Scientist (USA), Nikkei Business (Jp), Pen (Jp)
CONTACT SEBASTIAN MAYER
As a Yemeni woman, I am always fascinated by the beautiful fighting spirit of my fellow countrywomen and it is my mission to document the changing situation for them in Yemen.For nearly 11 years, I have photographed Yemeni women and the perceptions of them to other Yemenis, and outsiders. “Yemeni Women with Fighting Spirits”, highlights Yemeni women going through an unprecedented and fundamental social, political and economic upheaval. I want to highlight the social taboos of female freedom and veiling in Yemeni society. I believe it is very important to be able to express the determination, beauty, mystery, significance, danger and fear of Yemeni women, as their identities are dominated by and submerged under the country’s politics, religion and male dominated culture.My work also aims to show the forgotten side of Yemen, other than as it is shown frequently in the media. My images seek to instigate hope for the future and dissipate the frustration, which has affected all aspects of Yemeni life.
“Yemeni Women with Fighting Spirits”, is about hope. Hope for the future and how to use it.
Amira Al-Sharif is a highly regarded Yemeni photographer, who focuses on women’s issues and social taboos in present-day Yemeni society. Her images express the determination, beauty, mystery, danger and fear of Yemeni women, as their identities are dominated and submerged under the country’s politics, religion and culture. “Through photography, I call people to action. It is an intentional act to facilitate and participate in social change,” says Al-Sharif. Al-Sharif chose photography as a means of urging Yemeni women to make their own life decisions and take their own place in society. Her work has placed her in the company of contemporary Arab women, and under the critical gaze of Yemeni authorities, all in the interest of sharing the daily experiences of women living in Yemen during the time of conflict. “I have spent my entire life watching the vicious circle of political upheaval and increasing poverty in Yemen. I want my photography to become a catalyst for change.” Al-Sharif and her work have been featured in the New York Times, NPR, PDN, UNHCR, Oxfam, UNDP, and more. Her work has been exhibited in the United Sates, the Netherlands, England, Sweden and Spain. She was named one of the “150 Women Who Shake the World” by Daily Beast, has contributed to a book called “Faces of Yemen” produced by the Embassy of the Kingdom of the Netherlands in Yemen, and won first place in a tourism photography contest in Yemen for three years. Al-Sharif has studied at the International School of Photography in New York, and is part of the inaugural class of mentors for Women Photograph. The last few years she has been winning two grants by AFAC, Prince Claus, and Magnum Foundation.
It should be called “Poetic Moments”, based on the three-seat loving Adalbert Stifter. Time and again I am shown why some people, often artists and writers, in this case our Lord Stifter, fall in love with certain landscapes and can draw some strength from them. It’s just unbelievable what power and beauty our lovable Earth radiates. Over and over again. But now stop the ramblings. My head is always wandering a bit ... :-)
I took this picture with expired Polaroid material and my large format camera.
My childhood club TSV 1860 Munich was relegated to the Regionalliga last year.
The positive thing is that the games will now be held again in Giesing, in the legendary Grünwalder Stadion. Meine old love for the lions is once again sparked. I enjoy the games in Giesing, the fans, the singing, the pubs - all a bit like before and
Not licked at all, as with the Reds.
I have taken a segregated seat from the Grünwalder in the Garching Heide and looking for a special presentation location. I found the crooked pine. The single element “stadium seat” will be appreciated.
Born 1971 in Munich
Architect in Munich
Connected to Viechtach since 2003
The fascination of the moment
I could stand for hours on the coast and watch the waves bounce off the rocks. It is a showdown of the forces of nature: water against stone, stone against water.
At the other end of the world, on the coast of New Zealand, more specifically in Mount Maunganui, this picture was taken. On a sunny afternoon in wintry July. It is the brief moment when the wave crumbles to cloud-like fullness and the massive, dark stone forms an almost tangible contrast to the white spray. It is like a gateway to another world, which thanks to photography can be experienced not only for me, but also for others. “They [the photographs] juxtapose people and things that were separated a moment later, that had changed and lived their own destiny.” The quote from Susan Sontag seems to refer to this very moment. This moment of encounter between stone and sea is unique and irretrievable. Just a split second later, the wave has already retreated to throw itself against the rock again in the onslaught. And that’s my fascination for photography: watching the fleeting moment that never comes back like that; be it a short smile; a landscape in the sunlight; a find on the roadside, which somehow does not quite fit the scenery; or just the clashing of the elements.
I was born and raised near the Polish border, with nature in my nose and a gradual discovery of the world. For ten years now, I have been dealing with the manifold forms of new and digital media and have lived in Berlin, Weimar, Halle and New Zealand. My passion is good storytelling, photography and traveling. So if I should describe myself in a few words, it would be: multimedia all-rounder and adventurer in the heart.
Operation Jurassic explores the journey of a brother and sister photographers behind a prison sentence and its psychological implications, revealing personal moments and emotions. The subjects of this exploration are the authors of the project themselves as well as close people around them.
The project emerges from Roxana and Pablo’s need to detach from the situation they were faced with, but as time passed, it proved to bind them closer together resulting in a tight knit photographic collaboration with its own challenges. A series of issues from the past flared up alongside revealing unseen aspects of their persona allowing them to retrace and understand their relationship.
Pablo was imprisoned on 8th November 2012 for an offence that involves an array of artistic values and skills. He was convicted over a charge to conspire to commit criminal damage by means of graffiti and sentenced to nineteen months in custody of which he served five and a half in prison and the rest on house arrest. Pablo’s situation had an effect on his personal and social life and consequently on Roxana’s too.
The compilation of legal documentation, paperwork, letters, drawings, diaries and photographs depicting emotions and moments before, during and after the custodial sentence provide the viewer with an intimate approach of the process whilst reflecting on issues of freedom, graffiti and justice.
Link to work: http://pabloallison.format.com/operationjurassic Password: jurassic
Pablo Allison Photographer
Currently based in Mexico City
“The Lausitz - At the edge of Germany” is the title of my thesis for documentary photography at the Faculty of Design in Munich and deals with the second largest Braunkohlerevier in Germany. When you look at this picture, you automatically assume that the photograph is from China or perhaps Russia. In fact, however, this active brown coal mine is much closer to us than we would initially suspect, namely in the Lausitz, on the outskirts of Germany.
I asked the question, how do people feel there? What happens to people if they are to lose their homes to the coal forever? When the place disappears forever, when children were raised, weddings were celebrated, and his gardens were cultivated, his fields were cultivated?
In the Lausitz forests, meadows, villages disappear. For many people, lunchtime has been a constant uncertainty in Lausitz for more than 30 years. Some have resigned, some are stubborn, some are optimistic. The theme around the brown coal is deeply intertwined with the people who live there. A Sorbian proverb says: “God has created Lausitz, but the devil has put the coal under it.”
But there was something else that drove me. The curiosity. How does it feel to stand on the edge of such a pit, to see the whole extent of this insanity with its own eyes? And how would I find that? Ugly?
In fact, I find it ugly and beautiful at the same time. It is a sort of morbid aesthetics that made me press the trigger. In the background one could hear the menacing noise and rumbling of the excavators and conveyor belts, which are never stopped and can be heard even over long distances. When hanging up the laundry, weeding the weed, playing football with the neighbor girls, at night in bed.
Häberlein, Ines Christiane
February 24, 1983
2000-2002 Fachoberschule Straubing
Degree: Fachabitur der Ausbildungrichtung Gestaltung
01.10.2004-30.09.2007 Training as a health and nurse at the vocational school of the Caritas Hospital St. Josef, Regensburg
01.10.2007-31.03.2011 Full-time health and nursing work at Caritas Hospital St. Josef, Department of Internal Medicine with Intermediate Care Monitoring Unit
01.04.2011-01.07.2011 Internship at Vincent Schmucker Fotografie, Regensburg, compilation of an application folder for the Fotodesign degree program
01.10.2011-30.09.2016 Studied at the University of Applied Sciences in Munich
Degree program in design, specialization in photo design, Bachelor of Arts summer semester 2016
seit 01.09.2011 District Upper Bavaria
Work as an assistant for a self-determined life, Munich
seit Januar 2013 Independent photographer
Focus on product, - portrait and artistic photography
Mai 2017 Founding of the photographer’s duo Auen60 (Ines Häberlein & Julia Schneider)
Founding member of the creative collective Atelier Auen60 (under construction)
21.-22.Mai 2016 NNN, NeuNeuNeu, Lorraine 13 Hall; Munich
6.10.-09.10.2017 Werkschau AtelierAuen60; Munich