Of Dying and Living on by Daniel Chatard

 
 

Of Dying and Living on

BY DANIEL CHATARD

It‘s unusual for a story to begin with the death of a person. But with tissue donation, a process that can change another person‘s life from the ground up starts there. The German Society for Tissue Transplantation (DGFG) provides patients nationwide with corneas, amniotic tissue and heart valves, among other things - the DGFG maintains twelve tissue banks alone for this purpose. The photographs examine the complex system that makes the donation process possible and show the rooms in which tissue donation takes place. The selected photographs, taken in cooperation with the DGFG, explore tissue donation in Germany as a closed system within which the various locations photographed have different functions. They show rooms and still lifes that visualize important steps in the donation process - from the farewell room, where people see their deceased relatives one last time, to the surgery room, where the donations are used to heal the recipients.

Bio
Daniel Chatard (1996) is a Franco-German documentary and portrait photographer based in Hanover, Germany.In his work, Daniel has been mostly interested in the relationship between individuals and their societies, exploring how collective identities shape the human experience. He is available for assignments in Germany and worldwide.In 2015, Daniel started his studies of photojournalism and documentary photography at the University of Applied Sciences and Arts in Hanover. In 2017, he interned as a photographer at Weser-Kurier in Bremen. He did an exchange semester at the faculty of journalism at Tomsk State University (Russia) in 2018.

http://chatard.de/
instagram / @daniel_chatard

 

The State of the Region by Marvin Systermans

 
 

The State of the Region

BY MARVIN SYSTERMANS

The structural change that is coming with the end of the coal mining industry in Germany is noticeable throughout the Lausitz region. The immense quantities of earth that have been moved have not only brought forward new landscapes; With the end of lignite mining, the Lausitz region is also looking for a new identity. This process takes place in different ways in the urban space, the renatured lake landscapes and the surroundings of the still active coal mines. The photo series "The State of the Region" examines places where traditional and young structures coexist, old structures slowly vanish and something new is created. On the one hand, the work deals with problems and conflict issues such as the environmental impact of coal mining and urban vacancy, while at the same time reflecting stereotypical representations of the Lausitz region. It describes the gradual departure of the region from the era of the coal industry, as well as the emergence of Europe's largest lake landscape.

Bio
Marvin Systermans is a german photographer, photo editor and communication designer working on a variety of different projects. His photographic work mainly focuses on different approaches to reflect on urban spaces, structural changes, and the human habitat in general.

Exhibitions

2019 — Solo Exhibition, Galerie im Foyer, Bremen
2019 — Group Exhibition, the horizons Zingst, Environmental Photo Festival
2019 — Group Exhibition, Wendener Hütte, Wenden
2019 — Solo Exhibition, Galery Flut, Bremen
2018 — Group Exhibition, Münzenberg Forum, Berlin
2018 — Group Exhibition, Osthaus Museum, Hagen
2017 — Group Exhibition, Summerset House, London
2017 — Group Exhibition, Forum of Design, Magdeburg
2016 — Group Exhibition, 1st Design Biennale, Havanna
2015 — Group Exhibition, German Youth Photography Award, German History Museum

Awards

2019 — Shortlist Vonovia Photo Award
2019 — Shortlist Canon New Talent Award 2019/2
2019 — Scholarship from the BFF Neuer Förderpreis 2019
2018 — Münzenbergforum Photo Award, 4. Place
2017 — Shortlist Felix Schoeller Photography Award, Best Emerging Artist
2017 — Shortlist Sony World Photography Award, Professional Architecture
2015 — German Youth Photography Award

Residency

2019 — BangaloResidency Goethe Institute, Max Mueller Bhavan.
In collaboration with Raisa Galofre, photographer

https://www.marvinsystermans.com/
instagram / @marvin.systermans

 

Places of disquiet by Ricardo Nunes

 
 

Places of disquiet

BY RICARDO NUNES

In 2016 and 2017 I travelled several times through Portugal, following old memories of places I might have been. Since I was born, I had to visit the land of my parents to spend time with distant relatives, who lived in commuter towns on the outskirts of city centers. Many images of my past are formed by rushing through unknown cities or small villages around the center of Portugal. For a long time, I couldn’t relate to the attractive stories I had come to hear about the country from others. At the age of 21, I explored for myself the historically overwhelming center of Lisbon for the first time. The images of a »Portuguese city« though, still arose from my former memories of places like Barreiro, Queluz or Guarda.​The urbanization of Portugal was accelerated after the fall of Salazar’s dictatorship in 1974. The following and abrupt de-colonialization of African and Asian countries brought many immigrants to Portugal. Housing shortage and accession to the European Union in 1986 consider­ably speeded up the modernization process and strongly shaped the appearance of Portuguese cities. The ongoing financial crisis with rising poverty and criminality, as well as ghettoization, heightens the tense atmosphere. As news of forest fires and police raids were reported, I was told that the crisis and the heat are driving people crazy. It became important to decipher and describe this discomfort towards Portugal. A country with a formerly glorious past. Seemingly empty cities. A state of continuous melancholy. A fear of being spoken to. A fear of revealing that I am a foreigner. The light isn´t warm, it scorches skin, trees and landscapes. This journey to Portugal is an exploration of the feeling I carry — a simultaneity of foreignness and familiarity. The photographs are a portrait of a country I am choicelessly connected to. The loneliness that overcomes me in Portugal still has no release.​

Bio
Ricardo Alves Ferreira Nunes

*1986, Germany

2014 — 2017 Master, HFK Bremen, Germany
2010 — 2014 Bachelor, FH Dortmund, Germany
2012 Srishti, Bangalore, India

www.ricardonunes.de
instagram / @afnunes_

 

Future Rust, Future Dust by Loïc Vendrame

 
 

Future Rust, Future Dust

BY LOÏC VENDRAME

This long-term documentary project across several countries around the world aims to analyze the urban and architectural impact of the last world financial crisis and the burst of the real estate bubble.
Through a "concrete tsunami" exploration of ghost cities, aborted tourism projects, unused infrastructures, or roads leading to nowhere, this project plunges us into a post-apocalyptic atmosphere, vestige of this modern age mixing economic failures, corrupt elected officials, megalomaniac investors and dreams of home-ownership.
Witnesses of this big waste of – often public – money, these modern ruins hide human and ecological tragedies: indebted and defrauded people, homes finished but abandoned when so many people can’t find a place to live, and Nature disfigured for nothing, even in areas protected by law.

In a documentation process of showing the persistence of abandonment and incompleteness of these ‘non-places’ many years after the crisis, the visual approach combines aestheticism and graphism, while retaining these unfinished constructions in their surroundings landscape to reinforce the absurdity of these concrete skeletons, frozen in time, while Nature begins to slowly return back at its place.


‘The Spanish Sahara, the place that you'd wanna
Forget the horror here
Forget the horror here
Leave it all down here
It's future rust and it's future dust
I'm the fury in your head
I'm the fury in your bed
I'm the ghost in the back of your head’

Foals - Spanish Sahara (2010)

Bio
Geographer, now working in humanitarian NGO, and self-taught photographer, Loïc passion's for urban photography was born in 2012. Firstly attracted by contemporary architecture, he explored metropolises to find colorful and graphics architectural subjects, seeking to sublimate volumes and perspectives.

Since 2016, his photographic work shifted towards the study of the dynamics and changes of urban and peri-urban landscapes, through a monographic photo study documenting abandoned, stopped or under-utilized modern spaces throughout the world caused by the financial and real estate crisis.

www.loicvendramephotography.com
instagram / @loic_vendrame_photography

 

Originally by Gaëtan Chevrier

 
 

Originally

BY GAËTAN CHEVRIER

The Earth is this anthropized planet we share and whose future livability we must ensure. The rise of so-called natural disasters, hurricanes, cyclones, tsunamis, earthquakes, remind us of the vulnerability of inhabited spaces, and of the interdependence of human and nonhuman beings living there.Therefore planetary urbanization choices are paramout.

Decisions to build in the most fragile areas - behind dikes, below sea level, on geological faults - which are most often destroyed, remind us of the limits of the act of building.
And these decisions are those that will or will not impact our relationships with the built environment.In this regard, we note today the recurrent choice to focus on improving techniques and engineering to protect ourselves from this planet, rather than to evolve towards strategies for a dwelling that has been conceived as fragile.

Bio
Gaëtan Chevrier, trained as a designer and worked as a graphic designer in an advertising agency for about 10 years. At the same time, he specializes in photography as an autodidact and perfects his art through workshops in Paris and Arles to ENSP.
His work questions landscape (natural and / or urban), man’s place in it and how he can use it. It focuses on the concepts of natural / arti cial and wild / built. Through his artistic approach, he produces a formal and sensitive representation of his surroundings, halfway between art and document.
Lives in Nantes (west coast of France)

gae.chevrier@gmail.com
+33 6.19.39.78.76
www.gaetanchevrier.com
instagram / @gaetanchevrier

 

Predator/Protector by Nicholas Constant

 
 

Predator/Protector

BY NICHOLAS CONSTANT

Exploring the evolution of the battlefield and various forms of distance, Predator/Protector contemplates particular developments that may change the future of warfare (UAV/drone warfare) and what this means not just for the victim but the perpetrators as well. Using Sontag’s ideas of how war imagery on TV and internet distance us further from the actual happenings, as we relate these scenes to the cinematic, Predator/Protector attempts to combat this by showing that these issues materialise and take action from our space and in our time. Reflecting a stereotypical view of pastoral Britain, the land in these images challenge the idea of perception we have towards a modern day battlefield where the land would be completely different, yet the sky would be the same.

Adopting a similar aesthetic to that of British landscape painters then directing the camera towards the romanticised landscape, the project aims to contrast these idealistic and unintrusive views with the reality of what is taking place in these locations to show that they are part of the ever-expanding ‘battlespace’ in the information age. Romanticism derived from a time where the industrial revolution emerged, artists were drawn to look back to natural, idyllic settings in order to contrast and question their current political climate. Here, the images speak about our current time as a pivotal moment for the future of warfare. The interruptions in the landscape hint to how technological advances have meant that the battlefield could be considered to be here just as much as ‘there’ with soldiers technically commuting to and from the battlefield each day.

These images are combined with representations of aspects which cannot be seen from the public eye (the drones themselves and the operating rooms) this uncovers interesting parallels that would not be achievable photographing the actual subjects under investigation. Objects that have particular links to classical meanings are recontextualised to contrast names or places that are in use in the UAV programs. Such as the statue of Hermes, which is the name, the Israeli company ‘Elbit’ named one of its drones used in the 2014 Gaza attacks. The god Hermes is known for being a trickster and a traveller as well as escorting the dead to the river Styx. The fact they named an unmanned vehicle after an omnipresent being says a lot about the perception of the weapon.

Predator/Protector is the name of the new British drone where the name is being changed from Predator to Protector.

Bio
Internationally raised, London based artist with an interest in the spectacle of modern warfare. I explore spaces in which conflict occur particularly interested in the indirect effects on war; how they surface in the everyday and how these issues are dealt with in absence of mainstream media. Using a simple, unintrusive approach to many of the projects, I attempt to make invisible subjects visible through the use of landscape and context. Photographing in a slow and quiet manor, I try to force the viewer to study the image to extract the most information they can to then be reinforced by their own contextual knowledge and personal views. Consciously realising my place as a western spectator of modern conflict issues, I try to make work which aims to resonate with the western viewer in a non-confrontational way, believing empathy is most effective when the viewer pieces the puzzle together for themselves.

Instagram: @nicholas_constant
http://www.nicholasconstant.com/

 

Pairidaeza by Leonardo Magrelli

 
 

Pairidaeza

BY LEONARDO MAGRELLI

Paradise - from ancient Persian Pairidaeza (Pairi - around, Daeza - wall) a place surrounded by walls.

Iran has recently been included in Trump’s Muslim Ban list. This already mostly unknown land will now be even less accessible. This reason alone would suffice to motivate the choice of photographing the country under a different, detached and less propagandistic light. Other issues though emerge in the encounter with this region of the world. 

This series of photographs was taken while roaming the Iranian central desert and the cities within. So many different populations, religions and empires have followed one other for millennia, inhabiting these lands, reaching peaks of astonishing balance with their surroundings. Mithraic temples, Zoroastrian villages, Persian cities, they all were conceived and built in a perfect symbiosis with the land.

And yet today there seems to be a kind of ambiguous struggle to fit in these territories. A latent friction emerge between the human presence and the environment. Things seems to be out of place: ambiguous objects, unfinished buildings, indefinite traces of the mankind are left behind, lying isolated and scattered on the ground. It’s “the mutual interference between the landscape and those who live it” as Baltz wrote in his Review of the “The New West”. 

It may seems outdated nowadays to still talk about the issues raised by the new topographers more than forty years ago. But it must be kept in mind that Iran hasn’t yet started to develop a proper sensibility to the ecological and aesthetical problems of the landscape. The way people live the territory and live inside the territory no longer relies on the fusion with the surroundings, but rather on the separation from it. A separation that becomes quite paradoxical and absurd in many cases. The vast expanses of the uplands are now littered with industrial structures, commercial areas and various buildings. Most of them are surrounded with walls along their outer perimeter. Who are they keeping out? What are they keeping out, in these completely empty and uninhabited territories? Only the landscape is cut out, only the desert, the mountains and their extensive space. One could wonder if this derives from the ancient Persian gardens, however, the paradise is not anymore within these walls, but outside them, hidden from the view.

Bio
Born in Rome in 1989, holds a BA in Design and Architecture from “La Sapienza” university in Rome. While still studying, starts working with the photographer Marco Delogu, director of Fotografia – International Rome’s Photography Festival, and chief editor of the publishing house Punctum Press. Aside from collaborating with the organization of the festival, Leonardo also designed many of the books published by Punctum. Later starts working on his own, to focus more on his photography. In the last years his works has been published in several printed and online photography magazines, and has been displayed in collective exhibitions and festivals.

http://www.leonardomagrelli.com

 

A World around Disney by Christoph Sillem

 
 

A World around Disney

BY CHRISTOPH SILLEM

While perusing Google Maps, I noticed a huge circle 30km to the east of Paris. It was actually the ring road surrounding Eurodisney, which got me wondering if Disney had an influence on the environment beyond its circle. Getting there, I was surprised to see to what extent this was the case. I found a kind of pre-Disneyland that is meant to get all arriving visitors in a happyclappymickeymood before entering the park, but that was not all. As opposed to Eurodisney, where you expect the illusion and pay for being tricked, I also discovered the community of Val d'Euope, which is reality, but you're tricked anyway. It is a Truman Show like über-replica of a French village from the last century, which seems to have sprung up overnight. While Eurodisney is crowded with people, the streets are empty here. Clean and nearly retouched, it is an odd combination of the familiar and the odd. You feel as though you are in another country that is pretending to be French, even though you are indeed in France itself.

Bio
Christoph Sillem was born in Germany and graduated from Bayerische Staatslehranstalt für Photographie in Munich.
He currently lives and works in Paris, France.

www.christophsillem.com

 

Beyond The Ordinary & Updated Landscape by Guillaume Hebert

 
 

Beyond The Ordinary & Updated Landscape

BY GUILLAUME HEBERT

These series are a hybrid genre that combine pieces of modern landscapes with, in the background, landscapes that come from old and famous paintings. The name of this series is a notion that tells us about the changes created by urbanisation in our modern societies. These works invite us to compare the vision of an ancient painter with the vision of a modern photographer, in order to remodel our perception of the environment in an aesthetic dimension.

Bio
Guillaume Hebert, also called Guillelmus Paulus Julianus, is a French visual artist more focus on photography born in 1969 in Normandy. He graduated from the School of Fine Arts in Caen (DNSEP : National Superior Diploma of Plastic Arts). He started truly photography in Taiwan in the year 2012. He stays there for 6 years and goes regularly to mainland China. He currently collaborates with a Shanghai Gallery: M Art Center and participates in many festivals and art fair. After his pilgrimage he returned to Europe and settled in Berlin for one year. Back in France, he currently lives and works in the Papal city, Avignon.

www.guillaumehebert.com

 

brasilia, off the map by Cyrille Weiner

 
 

BRASILIA, OFF THE MAP

BY CYRILLE WEINER

Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Joscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.
I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping. the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st 1960 : the inauguration day of its new capital, built ex nihilo. Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days.
Perpetual comeback, perpetual availability for the future.
I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.
The real monumentality of Brasilia is its emptiness.

Bio
Photographer born in 1976 and trained at the Ecole nationale supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque île (2009) and Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from “on high.” Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.

www.cyrilleweiner.com

 

Fade Away

 

FADE AWAY

BY MICHELE PALAZZI

During the past decade, China is experiencing the largest internal migration in its history, involving especially the minorities living in the remote areas of the country. In Guizhou, the poorest province of the China, two million people, mostly from the Miao minority, are being pushed, through economic incentives, to leave their villages situated in isolated mountain and to be relocated into neighborhoods in urban cities, specifically built for them. This ongoing relocation, started in 2012 is expected to end by 2020, according to the local government it will allow the villagers to alleviate their poverty conditions.
The photographic project analyze the loss of identity of the people who chose to abandon their household surrounding themselves of a new extraneous environment, portraying also the daily rural life of those who decided to resist in a traditional world, where everything around them is rapidly fading away.


Biography

The italian photographer Michele Palazzi (b.1984) works with current social issues through a subjective approach, confronting the contemporary man with his origins, through a look that investigates the past in order to interpret the present. He has won several recognitions, among which the First Prize of the World Press Photo Award in the category Daily Life - Stories.
He is currently working on FINISTERRAE, a long term project concerning the southern European crisis and he works as a photography teacher at the Rome University of Fine Arts.

michelepalazziphotographer.com
instagram.com/michele_palazzi/


 

When The Dust Settles

 

WHEN THE DUST SETTLES

BY JOEL JIMENEZ

Joel Jimenez (b. 1993) is a photographer based in San Jose, Costa Rica, currently pursuing a B.A. in Photography while working on personal and collaborative projects.
His work is influenced by the theoretical and conceptual analysis of space and its possibilities to convey human conditions, emotional and psychological states, and how it correlates in a broad sense with social issues in our contemporary society.
Throughout his images, he reflects on the dynamics of identity and memory between people and the environment they inhabit and reveals landscape itself is a practice that constructs, rather than records, the world.

Synopsis

There is a symbiotic relationship between humanity and the landscape, continually evolving, changing and influencing one another; this thought is better understood by the notion of the atmosphere.
Atmospheres can be defined as perceptual states emerging from the resonance between the body’s senses and affective capacities, and the spatial and material qualities of a place.
This approach to the study of place and man is concerned with the psychological and emotional stimulus that arise from that dynamic.
Even though sociological and ecological issues are represented throughout the series, they are the outcome of subjective processes related to affections manifested through phenomenological discourses of time, memory, and identity imprinted in space.
These traces of human intervention deal with themes of longingness, solitude, and nostalgia in contemporary society, through ambiguous and elusive imagery that respond to the personal experience of the land we inhabit.


Website: http://joelrjimenez.com/
Instagram: https://www.instagram.com/joelr.jj/

 

East End Archive

 
 

EAST END ARCHIVE

BY CHRIS DORLEY-BROWN


In 1984, Chris Dorley-Brown, a British photographer and curator, started to photograph the corners of East London with several multiple exposures, which gave the possibility of creating a dream-like scenery composed by several narratives happening at the same time. The long term project is a reflection on how those are places of brief interactions and intersections and shows the ever changing side of East London.

The archive is a wide ranging colour record made with medium format colour negative film and, after 2006, digital cameras. Numbering around 8000 images, the archive is expanding it’s scope to include the outer east London boroughs. The pictures study architecture, public events, civic life, portraits, development of housing and social services. Elements of the archive are collected and held by various London Borough archives, the Museum of London, Barts Hospital, BBC and several private collections.

 

Soil

 
 

SOIL

BY MARGARITA YOKO NIKITAKI

Athens is condensed, homogeneous and grey. 
Although it is surrounded by four large mountains and built around a number of hills, the bare ground can hardly be seen anymore. The new soil is concrete and so is the new horizon.


BIO

Margarita Yoko Nikitaki is a Greek-Japanese photographer based in Athens, Greece. 
She studied photography at FOCUS School of Photography in Athens and she obtained her BA degree in Graphic Design from TEI of Athens / FGAD / School of Graphic Design. She works as a freelance photographer in commercial, editorial, architectural, industrial and agricultural projects for design studios, companies and magazines. She also works as a still photographer in movie sets. Her personal work has been exhibited at Thessaloniki Biennale of Contemporary Art, National Museum of Contemporary Art (EMST), Festival Internacional de Fotografía de Tenerife, Grace Athens, Tbilisi Photo Festival, Athens Photo Festival and more. She is currently studying for her Master's degree in Social and Cultural Anthropology at Panteion University of Social and Political Studies in Athens.

www.margaritanikitaki.com

 

INSDUSTRIE - LA VALLÉE

 

INSDUSTRIE - LA VALLÉE

BY JENNIFER NIEDERHAUSER SCHLUP

 

Jennifer Niederhauser Schlup, lives and works in Lausanne. She holds a Bachelor in Photography from Massachusetts College of Art and Design, Boston and a Master in Art Direction from the Universuty of Art and Design, Lausanne (Ecal). Her work has been shown in various exhibition and publications.

In 2014 she was a FOAM Talent as well as a Vfg nachwuchsförderpreis laureate and shortlisted for the Voies Off Prize. Her work has been included in exhibitions at Atelier Néerlandais — Paris, East Wing Gallery — Dubai, BEARSPACE gallery — London among others.

She is also the Editor-in-Chief and Creative Director of Adventice Editions (AE), which she founded in 2011 together with graphic designer Florine Bonaventure. AE is an independent publishing house which releases annually the eponymous publication Adventice.

 

Synopsis

La Vallée postulates photography as a creator of stories, whether they fall under pure invention or are rooted in a certain reality. Photography becomes here the
vector of a very personal vision and tends to fiction. Taking the aspect of a fictional study, the project considers la Vallée de Joux and its geographic, demographic and industrial characteristics, emphasizing the heterogeneous aspects of the region. Indeed, this area is a microcosm where traditions, rigor, industry and luxury come together. These notions, sometimes paradoxical, are the result of its location as a remote valley of the Jura and its importance as one of the birthplaces of the watch industry.

La Vallée shows an unconventional perspective on this unique socio-geographic context and contradicts prejudices deeply rooted in the imagination of the foreigner. The photographs, in the guise of documentary and objective images are manipulated, retouched and composed so as to create a manufactured substantiality and disturb the viewer. The whole consists of various series each adopting a specific aesthetic and re-interpreting various photographic genres.The story becomes emblematic and exposes the importance of imagination in creating a site-specific identity.

The series presented here is Industrie.

 

Editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

FORMA

 

FORMA

POR ANA MIRIAM

Sobre os limites da nossa perceção e do nosso entendimento. Sobre o momento em que parece que podemos agarrar, compreender, mas a verdade nos escapa. Sobre o movimento hesitante que acompanha esse momento, sobre esse mistério. Um peso, uma estranheza, uma solidão. Também um encantamento, um silêncio bom e uma promessa de algo que se esconde, algo que está longe, que é demasiado grande ou demasiado pequeno. Sobre a nossa perceção e entendimento do espaço. O que é o vazio, o que existe entre as coisas, o que as separa ou as une. Tentando mostrar o espaço, imaginando-lhe formas. À procura desse vazio, encontrei outras coisas difíceis de ver, coisas opacas, abismos, escuridão e demasiada luz. Continuo à procura, na noite, na neve, no nevoeiro.

SOBRE O AUTOR:

Ana Miriam estudou Artes Plásticas no Porto e em Bordéus e frequenta o Mestrado em Criação Artística Contemporânea, na Universidade de Aveiro. O seu trabalho fotográfico explora diferentes aspetos da vivência do espaço em contextos e escalas distintos, do urbano ao rural e da casa à paisagem. Trabalha como freelancer no âmbito da fotografia de arquitetura e é formadora na área da fotografia.

 

FORJA

 

FORJA

BY VASCO NOBRE LOPES

Vasco Nobre Lopes completed his M.Arch at UAL University (Lisbon) in 2007 and collaborated with several Portuguese architectural offices. In 2012 he established the "Forja Project" - Research/Post-Crisis/Resilient/Solutions. 

Synopsis

FORJA - def.:

Construct, contrive, create, devise, fabricate, fashion, form, frame, hammer out, invent, make, mould, shape, work  

2    coin, copy, counterfeit, fake, falsify, feign, imitate.

There is an old saying that goes "ignorance is no excuse". Well, at this point one could take it a stop further and say ignorance can be fatal. A young person today must have the technology and the know-how. Never before has self sufficiency and education been so important and they are virtually inseparable from survival.

All photographs were made in the working process of the architectural studio forja.

Editor´s note

The presented project was selected from a spontaneous submission made by Vasco Lopes. Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

FICTIONS

 

FICTIONS

BY FILIP DUJARDIN

Filip Dujardin (Ghent, Belgium, 1971) is an Art Historian (University of Ghent) specialized in Architecture and Photography (Academy of Ghent). He was technical assistant of Magnum-Photographer Carl De Keyzer and collaborated with Frederik Vercruysse.

He has published his work in national and international books and magazines, participated in several individual and group exhibitions since 2007, and has collaborated several times with scopio Editorial Line: invited author in the section Projects of scopio magazine aboveground architecture, speaker at the congress ON THE SURFACE: Public Space and Architectural images in debate and invited photographer to integrate the jury of the international photography contest aboveground territory.

His significant and inspiring work is mostly characterized by an artistic strategy that uses the tools of digital imaging as an opportunity for a postmodern project that unveils the pretence of photographic objectivity, making us more attentive to the architecture that surrounds us and to where we live and work.

Filip Dujardin uses the power of digital manipulation not to mask or denature a profound reality, but to call our critical attention to it, and his work is used, not to blur our ontological distinctions between the imaginary and the real, but to sharpen our critical attitude towards the existing architecture of today.


Pedro Leão Neto

 

ESCULTURA DO INCONSCIENTE

 

ESCULTURA DO INCONSCIENTE

POR TATEWAKI NIO


Tatewaki Nio nasceu em Kobe, Japão em 1971. Vive e trabalha em São Paulo desde 1998. Formado em sociologia pela Universidade de Sophia (Tóquio, Japão) estudou fotografia no SENAC (São Paulo, Brasil). Com várias exposições individuais e colectivas, prémios e colecções é representado pela Fauna Galeria. 

Synopsis

Escultura do Inconsciente investiga a paisagem de uma urbe em transformação, resultado da especulação imobiliária e da construção de grandes empreendimentos comerciais avassaladores, que transpõem a construção espontânea da Região Metropolitana de São Paulo do Brasil. Através deste projecto, Nio trata da efemeridade dos espaços em (des)construção a partir do registo dos vestígios e do resultado deste conflito. Terrenos baldios e prédios prestes a serem demolidos são alguns dos temas tratados. Os vazios registados são compostos por uma estranha presença sobre – humana. O uso de uma câmera de grande formato, permite que uma maior quantidade de detalhes dessa paisagem moldem enormes criaturas nas cidades. Num ato demorado e atento - oposto ao ritmo vertiginoso de transformação da paisagem -, este projecto demonstra a importância desses objetos, esculturas que esboçam fragilidade na eminência de sua extinção.

Iniciado em 2006 e continuado até hoje o projeto Escultura do Inconsciente contém mais de 70 imagens concluídas.

Editor´s note

The presented project was selected from a spontaneous submission. Our aim is to disseminate and bring to light telling work of emergent or young photographers.